This insightful volume explores the use of imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters - the canonized master Titian (c. 1488-1576) and his artistic heir, the little known Padovanino (1588-1649). Titian Remade compares three of Padovanino's paintings - Sleeping Venus (1610), Triumph (1620), and Self-Portrait (ca. 1630) - with corresponding works by Titian, and argues that repetition is not simply the last resort of the uninspired, but can be a positive act of artistic self-definition.