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...central exhibit, which features some 100 works by artists influenced by Piero and five of his own mathematical treatises, is being billed as the Renaissance art exhibit of the year in Italy, and an unprecedented chance for Arezzo to spread its wings. "Piero has become the very expression of the city's identity," says Arezzo's commissioner of culture Camillo Brezzi, noting the importance of the True Cross restoration in drawing visitors. "But like all of Italy really, this remains a small town no matter how big it might get." With its medieval architecture and steep cobblestone streets, the city...

Author: /time Magazine | Title: Rediscovered Master | 3/29/2007 | See Source »

...these days Piero is the city's star, even if it wasn't always that way. Bertelli, one of the three co-curators of the exhibit, calls Piero "an unlucky artist," because some of his greatest works were permanently lost, including frescoes in Ferrara (after his patron died, they were torn down) and in the Vatican (to make room for Raphael frescoes in the early 16th century). But his surviving works show a subtle mastery that influenced Raphael, Venetian painter Gentile Bellini and visiting Flemish painters along the Adriatic coast. He even inspired 20th century surrealists...

Author: /time Magazine | Title: Rediscovered Master | 3/29/2007 | See Source »

...background landscape, making them monumental." The same attention to character is evident in his frescoes. La Madonna del Parto (The Pregnant Madonna) in Monterchi and La Maddelena (Mary Magdalene) in Arezzo's cathedral feature a similar female face, which is both angelic and a touch uneasy. Bertelli says the artist is able to capture the fleeting emotion of his subjects: "It's almost as if the person was obligated for some mysterious reason to stay there. It was destiny to arrive there at that moment with that particular light and body language and expression." A late addition to the show...

Author: /time Magazine | Title: Rediscovered Master | 3/29/2007 | See Source »

...play in the majors. Take the piece you're going to buy and hang it up next to something that's inarguably good. If it doesn't hold up, don't buy it. I just bought work by a relatively unknown artist, and I can put it anywhere in this collection. It may not be a Rauschenberg, but it looks like it belongs...

Author: /time Magazine | Title: What Makes a Great Collection? | 3/29/2007 | See Source »

Always meet the art before you meet the artist. This isn't philanthropy or a social activity. You're buying what someone made, not who they...

Author: /time Magazine | Title: What Makes a Great Collection? | 3/29/2007 | See Source »

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