Titian

As Titian's career progressed, he became increasingly sought after by wealthy patrons and royalty. He was commissioned to paint portraits, religious works, and mythological scenes, and his reputation as a master painter grew.

One of Titian's most famous works from this period is the "Venus of Urbino," a sensual and provocative painting that depicts a reclining nude woman. This work is a masterpiece of composition, colour, and technique, and it exemplifies Titian's ability to imbue his subjects with a sense of life and vitality.

Another notable work from Titian's mature period is the "Assumption of the Virgin," a massive altarpiece commissioned for the Basilica di Santa Maria Gloriosa dei Frari in Venice. 

This work showcases Titian's skill in rendering complex compositions and his ability to create a sense of movement and drama through his use of colour and light.

Titian's influence on the development of Western art cannot be overstated. His mastery of colour, light, and composition inspired countless artists who followed in his footsteps.

One of the most significant ways in which Titian influenced subsequent artists was through his use of colour. He was a master of the Venetian tradition of colourism, and his ability to create rich, vibrant hues and to use colour to convey emotion and atmosphere was unparalleled.

Titian's influence can be seen in the works of many later artists, including Rubens, Velázquez, and Rembrandt. These artists were inspired by Titian's use of colour and his ability to create a sense of depth and atmosphere through his brushwork.

In addition to his influence on colour and technique, Titian's works also had a significant impact on the development of subject matter in art. His mythological and allegorical paintings, such as the "Bacchus and Ariadne" and the "Rape of Europa," helped to establish these themes as legitimate subjects for artistic exploration.

Early Years (c.1506-1520): Titian's early works were heavily influenced by his mentors Giovanni Bellini and Giorgione, characterised by the Venetian tradition of colorism, soft lighting, and atmospheric effects. Examples include the "Pastoral Concert" and "Sleeping Venus." [1][2]

Middle Years (c.1520-1550): During this period, Titian developed his own distinct style, moving away from the idealised Giorgionesque style towards a more naturalistic and monumental approach. His brushwork became looser and his use of colour more bold and expressive. Masterpieces from this phase include the "Assumption of the Virgin" and the "Pesaro Madonna."[1][2][3]

Later Years (c.1550-1576): In his final decades, Titian's style became increasingly loose and expressive, with a preference for vague forms and vibrant brushstrokes that anticipated Impressionism. 

His later mythological works like "The Flaying of Marsyas" and "The Death of Actaeon" demonstrate a chaotic, emotive brushwork and a focus on capturing the essence of the subject over precise details.[1][3]

Titian's evolving style was also influenced by his exposure to different artistic movements. In the 1540s, after visiting Rome, his work showed elements of Mannerism, with elongated figures and exaggerated poses, as seen in works like "Cain Slaying Abel."[1] His late style, with its loose brushwork and emphasis on emotion over form, foreshadowed the Baroque and even Impressionist movements.[1][3]