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Titian's 'Pietà' is noteworthy for its dark, rich colors that reflect the painting's mournful subject, where the sparing use of lighter tones serves to draw focus to the sorrowful figures of Mary and Jesus.

In 'The Feast of the Gods', Titian skillfully uses earth tones to situate the deities in a natural setting, while occasional bursts of color in garments and fruit hint at the celebratory atmosphere of the gathering.

The 'Sacred and Profane Love' by Titian exhibits a dynamic use of reds to distinguish between the sacred and the secular, with cooler colors balancing the scene and enhancing the symbolic duality.

In 'The Rape of Europa', Titian orchestrates a vivid contrast through bright blues and greens against the tanned flesh and white bull, creating a sense of drama and movement in this mythological abduction.

Titian's 'Venus of Urbino' is characterized by its sumptuous flesh tones and subtle shifts in color to model the female form, while the deep red of the bed drapery adds sensuality and warmth to the scene.

In 'Christ Carrying the Cross', Titian employs a restricted palette with muted tones, symbolizing the somber mood of the scene, while the subtle use of light highlights the strain on Christ's figure.

Titian's vivid reds and blues in 'Assumption of the Virgin' create a dramatic contrast that emphasizes the ascending Virgin Mary, drawing the viewer's eye upward. The divine light has a warm, golden hue, symbolizing the holy presence.

Titian's use of color in 'Diana and Actaeon' enhances the narrative, with the cool tones of the water and foliage creating a serene backdrop that contrasts with the warmth of the human figures, further highlighting the scene's tension.

In 'Bacchus and Ariadne', Titian uses a palette of deep blues and rich crimson to give depth to the figures and their attire, while the bright sky suggests the presence of the divine. The vibrant colors encapsulate the joy and ecstasy of the scene.