This work explores likely causes, analises the effects and investigates far-reaching consequences of Titian's ultima maniera, or last phase, spanning from the 1540s until his death in 1576. While focusing to explain the painters distinct visual language, a special attention is given to his unmached diversity of painting techniques, resulting in a phenomenon of non-finito. Such techniques include juxtaposing areas of thick impasto with those of thin glazes, creating a unique painting surface that appeals both to the tactile and optical sense of the viewer. It would seem impossible to imagine these technical innovations without mentioning the influence of Giorgione's sogno, or dream-like atmosphere present in his canvases. Also, worth exploring are earlier indications of what is to become Titian's ultima maniera, mainly recognised in the bravura of brushwork, used for different reasons mentioned in this paper. In his late work, Titian manages to alegorize the method of painting by merging technique and meaning. Along the fragmentation of reality and the disintegration of form, the figures of late Titian often emanate their complex psychological state through the canvas, as in the „Flaying of Marsyas“ or the „Pietà“. Also important is the inclusion of the reception of contemporaries, the debate of disegno versus colorito, as well as the comparison to Apelles, the famed painter of ancient Greece. Finally, it is not surprising that all of these qualities resulted in a profound effect on future painters.