Maria H. Loh

Titian Remade examines imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters: the canonized master Titian (ca. 1488–1576) and his artistic heir, the now unremarked Padovanino (1588–1649). Reading the latter's Sleeping Venus (1610), Triumph (1620), and Self-Portrait (ca. 1630) against corresponding works by Titian, the author argues the case for repetition as a positive act of artistic self-definition. Her history of creative emulation and engaged viewing in early modern visual culture offers a profound vision of art as a continual process of retrieval and projection that effectively bonds the present to the past and the self to the other.

Maria H. Loh is lecturer of early modern art at University College London.

"A bold new conceptualization—a tour de force that encompasses late-twentieth-century epistemology, social anthropology, and even film studies."
—The Art Bulletin