People often assume that painting and poetry serve completely different artistic purposes; you represent static moments in time with images and tell narrative stories with words. However, the idea that you need images in order to paint is quite a modern one. In the ancient world and Renaissance poets were expected to be able to paint with the words. Meanwhile, painters often aimed to tell narratives in painting. This is summed up by the Latin expression ‘ut pictura poesis‘, taken from Horace’s Ars Poetica. Poets often tried to evoke painting in their poetry, and this sort of poetry is known as ‘ekphrasis‘.
This is an extract from a letter written by the Italian poet Pietro Aretino to his dear friend the artist Tiziano Vecelli, better known as ‘Titian‘. In the letter Aretino beautifully describes the colours that he saw in the sky when he one day looked out on to Venice’s Grand Canal. You can even pick out in Aretino’s words a visual stylistic sensibility that is close to Titian’s own. That is, he takes great interest in the effects of colour.
Venice, May 1544:
‘As I am describing it, see first the buildings which appeared to be artificial though made of real stone. And then look at the air itself, which I perceived to be pure and lively in some places, and in others turbid and dull. Also consider my wonder at the clouds made up of condensed moisture; in the principal vista they were partly near the roofs of the buildings, and partly on the horizon, while to the right all was in a confused shading of greyish black. I was awestruck by the variety of colours they displayed: the nearest glowed with the flames of the sun’s fire; the furthest were blushing with the brightness of partially burned vermilion. Oh, how beautiful were the strokes with which Nature’s brushes pushed the air back at this point, separating it from the palaces in the way that Titian does when painting his landscapes!’