The Vendramin Family, c.1540/60 Tiziano Vecellio Titian (c.1485-1576)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Tiziano Vecellio Titian also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Vendramin Family is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

The painting presents a dynamic family scene arranged in a grand architectural setting. At the right stands an altar housing the precious reliquary of the Scuola Grande di S. Giovanni Evangelista, its ornate silver gilt and rock crystal structure beckoning our attention. Seated or kneeling below are the male members of the Vendramin family—fathers, brothers, sons—captured in various poses of devotion, each figure distinct yet unified by an air of solemnity. One child, clutching a small spaniel, gazes toward us, adding a sense of youthful curiosity to a composition otherwise steeped in reverence. Although no women are depicted, knowledge of the family’s daughters remains implicit in their absence, hinting at the period’s social customs that excluded female members from certain religious confraternities.

A carefully considered palette is evident in the contrasting reds, rich velvets, and soft flesh tones. These reds—particularly on the robes of the central figures—command the eye, while subtle transitions of gray and ochre in the surrounding architectural forms provide a measured balance. This interplay of opulent garments and muted backgrounds gives a strong emphasis to the familial figures, highlighting social status without overwhelming the scene. In addition, the soft glow on faces and hands suggests a nuanced application of light, encouraging the viewer’s gaze to linger on expressions and gestures.

The technique reveals an assured hand, one attuned to both form and atmosphere. Close observation suggests areas of swift, painterly brushwork in folds of fabric, displaying an expressive immediacy. Meanwhile, the smooth rendering of the reliquary and the skillful depiction of varied textures—from fur-lined sleeves to marble steps—speak to a careful layering method. Infrared reflectography has shown changes in composition: figures were moved, cropped, or possibly added over time. Such alterations are not unusual for major commissions, reflecting the evolving vision of both patron and painter. Even with these reworkings, the overall effect remains cohesive, with the family’s shared devotion as the unifying thread.

Visually, the composition pivots around the reliquary and the two eldest men, who act as pillars anchoring each side of the scene. The older gentleman’s hand resting on the altar creates a firm diagonal line, guiding our eye through the painting. In the lower left, a tightly knit cluster of sons and nephews stands as a testament to the patrician lineage, while the boy holding the dog provides a personal, human counterpoint to the formal setting. This strategic positioning of each figure underscores the significance of the relic in Venetian society, particularly for the Vendramin family, whose ancestors were intimately tied to its history. Given the painting’s final home in the central hall of the Vendramin palace, it functioned as both devotional image and genealogical statement. In that dual role, it embraces the deeply rooted traditions of Venetian portraiture while reflecting the sitter’s status and piety in an era when personal identity and civic pride were seamlessly intertwined.