Word: bellinis
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...When the excitement was over, the exchange had recorded one of its busiest days in history. The Dow Jones average rose more than 114 points, the second highest one-day gain ever, to 2623.51. "The best scenario possible seems to be taking place," declared James Bellini, head of equity trading for the firm Dain Bosworth. "People realized that the outbreak of war was not as negative as they anticipated...
From his first Bellini-like and Giorgionesque paintings, through the classical certainties of his middle age -- such as the John the Baptist, a veritable column of vigor and controlled theatrical gesture -- and on to his late work, Titian never ceased to develop. Perhaps to a modern eye, late Titian is the most moving of all, for it goes beyond the pictorial rhetoric that made his success. It is broken, impressionistic and no longer interested in the classical ideal. From its smoky melancholy come Lear-like outcries of pessimism, whose fullest expression is reached in The Flaying of Marsyas, perhaps...
...world, or even to move them at all, verges on the irresponsible. Yet museums still feel obliged to lend paintings as hostages to others to ensure reciprocal loans. Only this can explain, for instance, why the National Gallery refused to move its Feast of the Gods (the figures by Bellini, the deep and magically sonorous landscape background by his apprentice Titian) a few city blocks to the Phillips Collection's "Pastoral Landscape" show in 1988, whose centerpiece it should have been, but had no compunction about flying it back and forth across the Atlantic in 1990. There is something opportunistic...
...marks of the School of Paris. The Pastoral Landscape is, among other things, an homage to this idea, and its excellent catalog essays by Robert Cafritz, Lawrence Gowing and David Rosand all bear the theme in mind. Gowing, for instance, believes "the whole pastoral tradition from Bellini to ((Milton)) Avery is simultaneously active in the current understanding of painting...
...terminally fragile objects and impossible insurance costs, could or should be allowed to travel. An exhibition that dealt with this theme at full stretch would have to include Giorgione's Tempest and his (or Titian's) Concert Champetre, Botticelli's Primavera, Titian's Sacred and Profane Love, Giovanni Bellini's Feast of the Gods, plus any amount of Rubenses, Poussins, Annibale Carraccis, Claudes, Watteaus, Turners and Matisses, not to mention Manet's Dejeuner sur l'Herbe and Seurat's Grande Jatte...