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| Titian Adoration of the Child ca. 1508 oil on canvas Hermitage, Saint Petersburg |
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| attributed to Titian The Lovers ca. 1510 oil on canvas Royal Collection, Great Britain |
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| Titian Man with a Quilted Sleeve (possibly Gerolamo Barbarigo) ca. 1510 oil on canvas National Gallery, London |
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| Titian Portrait of a Man ca. 1515 oil on canvas Detroit Institute of Arts |
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| attributed to Titian Portrait of a Man (possibly the scholar Girolamo Fracastoro) ca. 1528 oil on canvas National Gallery, London |
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| Titian Allegory of Marriage ca. 1530 oil on canvas Musée du Louvre |
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| Titian Portrait of a Man in Armour ca. 1530 oil on canvas Armand Hammer Museum of Art, Los Angeles |
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| Titian Mars, Venus and Cupid ca. 1530 oil on canvas Kunsthistorisches Museum, Vienna |
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| Titian Assumption of the Virgin ca. 1530-35 oil on canvas Duomo di Verona |
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| Titian Portrait of Giacomo Doria ca. 1530-35 oil on canvas Ashmolean Museum, Oxford |
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| Titian St Jerome in Penitence ca. 1531 oil on canvas Musée du Louvre |
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| Titian The Annunciation ca. 1535 oil on canvas Scuola Grande di San Rocco, Venice |
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| Titian and workshop Rest on the Flight into Egypt ca. 1535 oil on canvas Museo del Prado, Madrid |
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| Titian Supper at Emmaus ca. 1535 oil on canvas Musée du Louvre |
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| Titian Portrait of Giulio Romano (holding one of his own architectural drawings) ca. 1536 oil on canvas Provincia di Mantova |
"Tiziano was born at Cadore, a little township situated on the Piave and five miles distant from the pass of the Alps, in the year 1480, from the family of the Vecelli, one of the most noble in that place. At the age of ten, having a fine spirit and a lively intelligence, he was sent to Venice to the house of an uncle, an honoured citizen, who, perceiving the boy to be much inclined to painting, placed him with Gian Bellini, an excellent painter very famous at that time, as has been related. Under his discipline, attending to design, he soon showed that he was endowed by nature with all the gifts of intellect and judgment that are necessary for the art of painting; and since at that time Gian Bellini and the other painters of that country, from not being able to study ancient works, were much – nay, altogether – given to copying from the life whatever work they did, and that with a dry, crude, and laboured manner, Tiziano also for a time learned that method. But having come to about the year 1507, Giorgione da Castelfranco, not altogether liking that mode of working, began to give to his pictures more softness and greater relief, with a beautiful manner. . . . Tiziano, then, having seen the method and manner of Giorgione, abandoned the manner of Gian Bellini, although he had been accustomed to it for a long time, and attached himself to that of Giorgione, coming in a short time to imitate his works so well that his pictures at times were mistaken for works by Giorgione."
– from Lives of the Painters, Sculptors and Architects by Giorgio Vasari (1568), translated by Gaston du C. de Vere (1912)