Landscape with a Goat 1500–1511 Titian (Tiziano Vecellio) Italian Drawings by Titian are exceedingly rare, and this splendid study is one of the very few sheets that can plausibly be attributed to him. Although it has been trimmed (the fragment at the upper left has been interpreted in various ways but surely represents the lower half of the head of a bearded man), the sketch is a fine example of Titian's powerful and evocative drawing style. The poetic treatment of the landscape reflects the influence of Giorgione; the sheet may therefore date from relatively early in the artist's career, per

Landscape with a Goat 1500–1511 Titian (Tiziano Vecellio) Italian Drawings by Titian are exceedingly rare, and this splendid study is one of the very few sheets that can plausibly be attributed to him. Although it has been trimmed (the fragment at the upper left has been interpreted in various ways but surely represents the lower half of the head of a bearded man), the sketch is a fine example of Titian's powerful and evocative drawing style. The poetic treatment of the landscape reflects the influence of Giorgione; the sheet may therefore date from relatively early in the artist's career, perhaps about by the Museum in 1991, the present sketch is a fairly recent discovery and constitutes an important addition to the small corpus of the artist's known drawings. The sheet is close in style to several others that may be among Titian’s earliest extant works: a "Landscape with a Goat" in the Musée du Louvre (Départment des Arts Graphiques, inv. no. 5539) and a sketch in the Gabinetto Disegni e Stampe degli Uffizi which depicts an alpine landscape with an eagle (Inv. no. 937), and a further, more problematic drawing in the same style known in at least four versions, of which the best is the "Alpine Village with two Lovers"at Chatsworth (Inv. no. 749 B). Each of these sheets is drawn in pen and ink, and each represents a pastoral landscape with rustic farm buildings of the kind with which Titian would have been familiar from the countryside surrounding his birthplace at Pieve di Cadore in the foothills of the Alps. In all of the related drawings, closely spaced vertical and horizontal strokes describe the architecture, while more vigorous, curvilinear pen work indicates the features of the concur that these sheets were drawn relatively early in Titian’s career, when he was profoundly influenced by Giorgione (ca. 1477/78-1510). The exact date, however, remains controversial. Chiara Moretto Wiel argues that they were executed during

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