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Tiziano in Milan: "Woman in the mirror"

At the Louvre, I never seemed to see the painting "Woman in the Mirror" by Titian, that the 3 / 12 to 6 / 01 is located in Milan, perhaps because the museum works to alternate them, perhaps because the painting was on loan to other facilities, the fact remains that it does not appear in my photos I remember Paris.
Admission is free and the crowd to admire so much, despite the queue moves fast in fact be a bit 'more than half an hour before entering the Palazzo Marino, and inside there is still a small line-shaped coil to do. In small groups there is a quick introduction done by an expert, then stop for a few minutes before the picture, where the critic takes us, presenting the main features of the framework.
In the work of 1515, stands in the foreground with the face and body of a lady with flowing hair that is reflected in the mirror behind her, behind her a man, perhaps a hairdresser, while supporting the same apparently encircle a small mirror in front of a that the woman's hair can be seen, in part by Titian painted with his fingers. In reality, this character can admire the feminine grace and his eyes expressed a desire for the woman who remains unfulfilled.
The mirror is the key, used by the ancient plates that produced using gold or silver in 1500 and were built with glass and electro, an alloy of gold and silver, especially in Germany and Venice, respectively first and second producer at the time. This object represents the multi-faceted nature and is a symbol of vanity, but here it clashes with the look of a woman who is simple and does not communicate anything other than the ephemeral nature of beauty in his dressing-room semi-open with her hair down she embodies sensuality that the painter has stolen private home environment to present to the public. But what is this beauty portrayed than the reflection of the transience of life? Youth who lapsed into a moment that the artist decided to immortalize himself together to cheat death, to do this, he plays with perspective and that is first of all with mirrors, as is already happening in the "Portrait of Arnolfini "Van Eyck of 1434. He then uses color in a completely new way: to give more light, he lies on the canvas gray, white and pink as bases, something discovered in modern studies and in the restoration in 1990.
The stop in front of the picture is unfortunately short, because the small groups follow each other quickly, in a separate room before the exit you can see, vacancies permitting, a movie on the work and the times in which Titian lived.