| Abstract | This thesis examines the role played by Titian’s three portraits of Pope Paul III, Portrait of Pope Paul III without his Cap (1543), Portrait of Pope Paul III with Camauro (1545-46), and Portrait of Pope Paul III with his Grandsons (1545-46), in creating his persona of reformer during his papacy. These three paintings of Pope Paul III were the only official portraits he commissioned during his pontificate. Renaissance portraiture portrays not only the likeness of the sitter but also alludes to the sitter’s identity. In this thesis, I argue that the three portraits reveal his chosen identity as a church reformer and family patriarch. Paul allowed only Titian to represent him, indicating the widespread esteem for Titian as a “prince of painters.” Pope Paul III was born Alessandro Farnese. Scholars credit him with establishing the Farnese as one of the most influential families in Roman art patronage and religious reform. The College of Cardinals elected Paul III to the papacy in 1534 at the height of the Reformation. During his reign, Paul navigated church reform while practicing the abuses the Reformation had criticized privately. For example, he placed his sons and grandsons in powerful church and state positions, such as cardinal and prince. In addition, his choice of papal name, Paul, connects him to Saint Paul, an important figure in early Christian history who called for reform of early church rules. This name choice directly links Pope Paul III to the Apostle Paul and indicates his desire to be perceived as a church reformer himself. Pope Paul’s desire that the public see him as a reformer in Titian’s portraits directly contradicts some of his actions as pope, and this thesis will examine the checkered reception of these works. |
