Spend a day at the National Gallery exploring Titian's revolutionary approach to colour. Discover how this Venetian master transformed Renaissance painting through his bold use of colorito, comparing his techniques with rivals Tintoretto, Veronese and Bassano, then explore his powerful mythological works for Philip II.
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When you stand before Titian's Bacchus and Ariadne, what strikes you first? The explosive movement? The shocking pinks and blues? The way colour itself seems to tell the story?
Titian (c.1488-1576) revolutionised how artists thought about colour and what painting could achieve. His extraordinarily long career spanned nearly seven decades, during which he developed techniques that changed European art forever.
But how did his approach to colour-what the Venetians called colorito-compare with his great Venetian rivals? And how did his relationship with the powerful Spanish king Philip II shape some of his most dramatic mythological paintings?
In this one-day course at the National Gallery, we'll explore these questions by looking closely at major works in Rooms 8 and 9. In the morning, we'll examine Titian's mastery of colour alongside works by Tintoretto, Veronese and Bassano, understanding how Venice became the centre of the colour revolution.
After lunch, we'll focus on the remarkable mythological paintings Titian created for Philip II, particularly the poesie series featuring Diana and Actaeon and Diana and Callisto. You'll leave seeing Titian not just as a great painter, but as an artist who fundamentally changed what painting could be.
What will we cover?
Identify at least three distinctive features of Titian's use of colour and brushwork in works from the National Gallery collection
Explain what colorito meant in Renaissance Venice and compare it with the Florentine emphasis on disegno
Compare the techniques of Titian with at least two of his Venetian rivals (Tintoretto, Veronese, Bassano) using specific examples from the gallery
Analyse the significance of Titian's relationship with Philip II using evidence from Diana and Actaeon and Diana and Callisto
Interpret the mythological narratives and themes in both Diana and Actaeon and Diana and Callisto
What will I achieve? By the end of this course you should be able to...
Identify Titian's distinctive use of colour and brushwork compared to other Venetian masters
Explain what colorito meant in Renaissance Venice and why it was revolutionary
Describe the key differences between Titian's approach and that of Tintoretto, Veronese and Bassano
Analyse the significance of Titian's relationship with Philip II and how it shaped his late mythological works
Interpret the narratives and meanings in Diana and Actaeon and Diana and Callisto
What level is the course and do I need any particular skills?
This course is suitable for all levels.
You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information. You will be invited to take part in group discussion.
This course takes place offsite at the National Gallery. Offsite courses take place during public access hours. Tutors are not able to control sound levels or the behaviour of visitors outside of the course group. Unless you are a wheelchair user and have confirmed access details with us (as levels of access can vary between buildings), you will need to be able to walk between galleries and stand for some time while looking at exhibits. You may bring your own portable stool if you have one, but we cannot guarantee access to seating offsite. If you feel you may be impacted by these environmental variations, please inform the department on humanities@citylit.ac.uk before the course begins, in order to discuss reasonable accommodations that we can make to assist your learning offsite.
How will I be taught, and will there be any work outside the class?
The morning session runs from 11:00-13:00, followed by a lunch break (13:00-14:00), and the afternoon session from 14:00-16:00. Comfort breaks can be arranged during the sessions.You will learn through close looking at paintings and guided discussion. We will be standing in front of artworks for extended periods, so please arrive early to secure a folding stool from the Annenberg Court on the ground floor.Please arrive approximately 10 minutes early and make yourself visible to the lecturer so we can start promptly at 11:00. If you are running late, look for the group in Room 8 or 9.
Please note that National Gallery staff will not be aware of this course and will be unable to provide information about it.
Are there any other costs? Is there anything I need to bring?
Entry to the National Gallery is free. You may wish to bring a notebook for taking notes. Lunch is not included; please arrange your own lunch during the break. The National Gallery has cafes and there are many options in Trafalgar Square.
Dr Carlo Corsato is an experienced and engaging tutor with over 15 years of experience in adult education. His learner-centred approach fosters a supportive environment where participants are encouraged to ask questions, share ideas and take part in lively, informed conversations. Carlo works across the Curatorial and Learning departments at the National Gallery and teaches on cultural tours for Martin Randall Travel. He is a specialist in early-modern art and history, particularly in Italy and Flanders, and has lectured at Morley College and the universities of St Andrews, Glasgow and Buckingham. He was a visiting scholar at the Dutch Institute in Florence and at St John’s College, Cambridge. His research has been published in international scholarly journals and exhibition catalogues, and he has edited several academic books.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
product
https://www.citylit.ac.uk/study-day-titian-and-colour3040435Study day: Titian and colourhttps://www.citylit.ac.uk/media/catalog/product/v/b/vb259_titian_1_.jpg6969GBPInStock/Courses/Courses/Culture, history & humanities/Art history/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Art history/Early modern world22851136117718891228511771136<p>Spend a day at the National Gallery exploring Titian's revolutionary approach to colour. Discover how this Venetian master transformed Renaissance painting through his bold use of <em>colorito</em>, comparing his techniques with rivals Tintoretto, Veronese and Bassano, then explore his powerful mythological works for Philip II.</p>003040426Study day: Titian and colour6969https://www.citylit.ac.uk/media/catalog/product/v/b/vb259_titian_1__1.jpgInStockDaytimeSunOff SiteAvailable coursesOne-off onlyWeekend2026-06-21T00:00:00+00:00Beginners, Some experience, Advanced, Suitable for allJun 2026Culture, history & humanitiesVB2596969Study day: Titian and colour554569Carlo Corsatostudy-day-titian-and-colour/vb259-2526<p>Spend a day at the National Gallery exploring Titian's revolutionary approach to colour. Discover how this Venetian master transformed Renaissance painting through his bold use of <em>colorito</em>, comparing his techniques with rivals Tintoretto, Veronese and Bassano, then explore his powerful mythological works for Philip II.</p>0000-Available|2026-06-21 00:00:00<p>When you stand before Titian's <em>Bacchus and Ariadne</em>, what strikes you first? The explosive movement? The shocking pinks and blues? The way colour itself seems to tell the story? </p><p>Titian (c.1488-1576) revolutionised how artists thought about colour and what painting could achieve. His extraordinarily long career spanned nearly seven decades, during which he developed techniques that changed European art forever. </p><p>But how did his approach to colour-what the Venetians called <em>colorito</em>-compare with his great Venetian rivals? And how did his relationship with the powerful Spanish king Philip II shape some of his most dramatic mythological paintings? </p><p>In this one-day course at the National Gallery, we'll explore these questions by looking closely at major works in Rooms 8 and 9. In the morning, we'll examine Titian's mastery of colour alongside works by Tintoretto, Veronese and Bassano, understanding how Venice became the centre of the colour revolution. </p><p>After lunch, we'll focus on the remarkable mythological paintings Titian created for Philip II, particularly the <em>poesie</em> series featuring <em>Diana and Actaeon</em> and <em>Diana and Callisto</em>. You'll leave seeing Titian not just as a great painter, but as an artist who fundamentally changed what painting could be.</p><p>Spend a day at the National Gallery exploring Titian's revolutionary approach to colour. Discover how this Venetian master transformed Renaissance painting through his bold use of <em>colorito</em>, comparing his techniques with rivals Tintoretto, Veronese and Bassano, then explore his powerful mythological works for Philip II.</p><ul><li>Identify at least three distinctive features of Titian's use of colour and brushwork in works from the National Gallery collection </li><li>Explain what <em>colorito</em> meant in Renaissance Venice and compare it with the Florentine emphasis on <em>disegno</em> </li><li>Compare the techniques of Titian with at least two of his Venetian rivals (Tintoretto, Veronese, Bassano) using specific examples from the gallery </li><li>Analyse the significance of Titian's relationship with Philip II using evidence from <em>Diana and Actaeon</em> and <em>Diana and Callisto</em> </li><li>Interpret the mythological narratives and themes in both <em>Diana and Actaeon</em> and <em>Diana and Callisto</em> </li></ul><ul><li>Identify Titian's distinctive use of colour and brushwork compared to other Venetian masters</li><li>Explain what <em>colorito</em> meant in Renaissance Venice and why it was revolutionary</li><li>Describe the key differences between Titian's approach and that of Tintoretto, Veronese and Bassano</li><li>Analyse the significance of Titian's relationship with Philip II and how it shaped his late mythological works</li><li>Interpret the narratives and meanings in <em>Diana and Actaeon</em> and <em>Diana and Callisto</em></li></ul><p>This course is suitable for all levels.</p><p>You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information. You will be invited to take part in group discussion. </p><p>This course takes place offsite at the National Gallery. Offsite courses take place during public access hours. Tutors are not able to control sound levels or the behaviour of visitors outside of the course group. Unless you are a wheelchair user and have confirmed access details with us (as levels of access can vary between buildings), you will need to be able to walk between galleries and stand for some time while looking at exhibits. You may bring your own portable stool if you have one, but we cannot guarantee access to seating offsite. If you feel you may be impacted by these environmental variations, please inform the department on humanities@citylit.ac.uk before the course begins, in order to discuss reasonable accommodations that we can make to assist your learning offsite.</p><p>The morning session runs from 11:00-13:00, followed by a lunch break (13:00-14:00), and the afternoon session from 14:00-16:00. Comfort breaks can be arranged during the sessions.You will learn through close looking at paintings and guided discussion. We will be standing in front of artworks for extended periods, so please arrive early to secure a <strong>folding stool</strong> from the Annenberg Court on the ground floor.Please arrive approximately <strong>10 minutes early</strong> and make yourself visible to the lecturer so we can start promptly at 11:00. If you are running late, look for the group in Room 8 or 9. </p><p>Please note that National Gallery staff will not be aware of this course and will be unable to provide information about it. </p><p></p><p>Entry to the National Gallery is free. You may wish to bring a notebook for taking notes. Lunch is not included; please arrange your own lunch during the break. The National Gallery has cafes and there are many options in Trafalgar Square.</p><p>Introduction to the Italian Renaissance</p>Art historyEarly modern worldvirtual556945VB259NONESun21/06/2611:00 - 16:0011:0016:001 session1One-off onlyDaytimeWeekendOSOff SiteCarlo CorsatoBeginners, Some experience, Advanced, Suitable for allAvailable courses2026-06-21T00:00:00+00:00Jun 2026Culture, history & humanities6969Study day: Titian and colourstudy-day-titian-and-colour/vb259-2526<p>Spend a day at the National Gallery exploring Titian's revolutionary approach to colour. Discover how this Venetian master transformed Renaissance painting through his bold use of <em>colorito</em>, comparing his techniques with rivals Tintoretto, Veronese and Bassano, then explore his powerful mythological works for Philip II.</p>0000-Available|2026-06-21 00:00:00<p>When you stand before Titian's <em>Bacchus and Ariadne</em>, what strikes you first? The explosive movement? The shocking pinks and blues? The way colour itself seems to tell the story? </p><p>Titian (c.1488-1576) revolutionised how artists thought about colour and what painting could achieve. His extraordinarily long career spanned nearly seven decades, during which he developed techniques that changed European art forever. </p><p>But how did his approach to colour-what the Venetians called <em>colorito</em>-compare with his great Venetian rivals? And how did his relationship with the powerful Spanish king Philip II shape some of his most dramatic mythological paintings? </p><p>In this one-day course at the National Gallery, we'll explore these questions by looking closely at major works in Rooms 8 and 9. In the morning, we'll examine Titian's mastery of colour alongside works by Tintoretto, Veronese and Bassano, understanding how Venice became the centre of the colour revolution. </p><p>After lunch, we'll focus on the remarkable mythological paintings Titian created for Philip II, particularly the <em>poesie</em> series featuring <em>Diana and Actaeon</em> and <em>Diana and Callisto</em>. You'll leave seeing Titian not just as a great painter, but as an artist who fundamentally changed what painting could be.</p><p>Spend a day at the National Gallery exploring Titian's revolutionary approach to colour. Discover how this Venetian master transformed Renaissance painting through his bold use of <em>colorito</em>, comparing his techniques with rivals Tintoretto, Veronese and Bassano, then explore his powerful mythological works for Philip II.</p><ul><li>Identify at least three distinctive features of Titian's use of colour and brushwork in works from the National Gallery collection </li><li>Explain what <em>colorito</em> meant in Renaissance Venice and compare it with the Florentine emphasis on <em>disegno</em> </li><li>Compare the techniques of Titian with at least two of his Venetian rivals (Tintoretto, Veronese, Bassano) using specific examples from the gallery </li><li>Analyse the significance of Titian's relationship with Philip II using evidence from <em>Diana and Actaeon</em> and <em>Diana and Callisto</em> </li><li>Interpret the mythological narratives and themes in both <em>Diana and Actaeon</em> and <em>Diana and Callisto</em> </li></ul><ul><li>Identify Titian's distinctive use of colour and brushwork compared to other Venetian masters</li><li>Explain what <em>colorito</em> meant in Renaissance Venice and why it was revolutionary</li><li>Describe the key differences between Titian's approach and that of Tintoretto, Veronese and Bassano</li><li>Analyse the significance of Titian's relationship with Philip II and how it shaped his late mythological works</li><li>Interpret the narratives and meanings in <em>Diana and Actaeon</em> and <em>Diana and Callisto</em></li></ul><p>This course is suitable for all levels.</p><p>You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information. You will be invited to take part in group discussion. </p><p>This course takes place offsite at the National Gallery. Offsite courses take place during public access hours. Tutors are not able to control sound levels or the behaviour of visitors outside of the course group. Unless you are a wheelchair user and have confirmed access details with us (as levels of access can vary between buildings), you will need to be able to walk between galleries and stand for some time while looking at exhibits. You may bring your own portable stool if you have one, but we cannot guarantee access to seating offsite. If you feel you may be impacted by these environmental variations, please inform the department on humanities@citylit.ac.uk before the course begins, in order to discuss reasonable accommodations that we can make to assist your learning offsite.</p><p>The morning session runs from 11:00-13:00, followed by a lunch break (13:00-14:00), and the afternoon session from 14:00-16:00. Comfort breaks can be arranged during the sessions.You will learn through close looking at paintings and guided discussion. We will be standing in front of artworks for extended periods, so please arrive early to secure a <strong>folding stool</strong> from the Annenberg Court on the ground floor.Please arrive approximately <strong>10 minutes early</strong> and make yourself visible to the lecturer so we can start promptly at 11:00. If you are running late, look for the group in Room 8 or 9. </p><p>Please note that National Gallery staff will not be aware of this course and will be unable to provide information about it. </p><p></p><p>Entry to the National Gallery is free. You may wish to bring a notebook for taking notes. Lunch is not included; please arrange your own lunch during the break. The National Gallery has cafes and there are many options in Trafalgar Square.</p><p>Introduction to the Italian Renaissance</p>Art historyEarly modern worldconfigurable
18891136Early modern worldhttps://www.citylit.ac.uk/courses/humanities/art-history/early-modern-world1/2/285/1177/1136/18891/Courses/Culture, history & humanities/Art history/Early modern world
