Titian Remade explores imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters: the canonized master Titian (ca. 1488–1576) and his artistic heir, the now-unremarked Padovanino (1588–1649). Reading the latter’s Sleeping Venus (1610), Triumph (1620), and Self-Portrait (ca. 1630) against corresponding works by Titian, Maria H. Loh argues the case for repetition as a positive act of artistic self-definition. Her history of creative emulation and engaged viewing in early modern visual culture offers a profound vision of art as a continual process of retrieval and projection that effectively bonds the present to the past and the self to the other.

• Acknowledgments
• Introduction. “A Death in Venice”
• Chapter 1. The “Delicious Nude”: Repetition and Identity
• Chapter 2. “The Future is History”: Repetition and Difference
• Chapter 3. Io Triumphe, Io Triumphe: Repetition and Becoming
• Chapter 4. Ancients and Moderns: Repetition and History
• Conclusion. Sublime Trees and Deterritorialized Branches
• Postscript
• Works Cited
• Illustration Credits
• Index

Maria H. Loh is lecturer of early modern art at University College London. She received her Ph.D. in the history of art from the University of Toronto. A specialist in Italian art and theory, with a focus on Venice, she has published on theories of authorship, repetition, spectatorship, and desire, and she also writes on contemporary film.