Portrait of Titian - Agostino Carracci
Archival giclée
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Description
A detailed 1587 engraving by Agostino Carracci, portraying the Venetian master Titian with precision and technical mastery.
This engraving by Agostino Carracci, dated 1587, depicts the Venetian master Titian in his later years. Carracci, a member of the influential Bolognese family of painters, demonstrates his technical proficiency through the controlled use of the burin. The work captures the subject with a sense of gravity, focusing on the textures of the fur-lined garment and the weathered features of the face.
The composition follows the tradition of the commemorative portrait. The Latin inscription at the top, 'TITIANI VECELLII PICTORIS CELEBERRIMI AC FAMOSISSIMI VERA EFFIGIES', identifies the sitter as the celebrated painter. Below, a further dedication to Cardinal Enrico Caetano provides context regarding the print's circulation within the intellectual circles of the late sixteenth century. Carracci employs a system of cross-hatching to model the volume of the beard and the folds of the fabric, creating a clear distinction between the soft fur and the firmer structure of the face.
As a printmaker, Carracci was known for his ability to translate the painterly qualities of his subjects into the linear language of engraving. This portrait serves as a record of Titian's appearance, reflecting the respect held by the younger generation of Italian artists for the Venetian tradition. The print is a study in light and shadow, where the white of the paper is utilised to define the highlights on the skin and the reflective quality of the eyes. The work remains a primary example of the high level of craftsmanship achieved by the Carracci school in the late Renaissance period, demonstrating a balance between descriptive detail and formal composition.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Portrait of Titian - Agostino Carracci
Artist Biography
Agostino Carracci
His masterpiece as a painter, The Last Communion of Saint Jerome (1592), hangs in the Pinacoteca Nazionale di Bologna. The composition is controlled and deeply felt, with the dying saint receiving the sacrament in a soft, Correggesque light that reveals Agostino's careful study of the Parma master. He also contributed to major fresco cycles at Palazzo Fava (1584, Lives of Jason and Medea) and Palazzo Magnani (1590-92, Scenes from the Foundation of Rome), working alongside Annibale on both.
The engraving work that critics sometimes dismissed as mere reproduction turns out to have had an unexpectedly long legacy. His print after Paolo Fiammingo's Love in the Golden Age is recorded as a direct source for Matisse's Le bonheur de vivre (1905-06), connecting a Bologna workshop of the 1580s to Fauvist Paris three centuries later. Agostino died in Parma in March 1602, at forty-four, leaving a son, Antonio, who also became a painter.
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