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...centuries it was a habit of Popes to collect modern religious art. Up to the papacy of Urban VIII, who gave Bernini carte blanche to transform the face of Rome, the Vatican had a use for the best art of its time: magnificence as propaganda. The results, strung through exhausting miles of galleries and culminating in Raphael's stanze and Michelangelo's Sistine frescoes, fill the Vatican Museum. But this lofty tradition of patronage ebbed away, and by 1900 most official religious art was stranded in a sludge of gaudy plaster piety. With the exception of the gloomy...

Author: /time Magazine | Title: Art: Labyrinth of Kitsch | 8/5/1974 | See Source »

...example, two Rothko paintings were sold to the Liechtenstein firm of Galleria Bernini (two of whose directors also sit on the boards of four Marlborough shells). The Galleria paid $140,000 for them, of which the estate received $84,000. But Mrs. Paul Mellon wanted those very Rothkos so ardently, Lloyd testified, that Marlborough bought them back from Galleria Bernini for a whopping $420,000 and then resold them to her for that amount. "Since the price was so high," Lloyd said with benign altruism, "I didn't want to profit from it." Yet if the sale...

Author: /time Magazine | Title: Art: The Rothko Tangle | 6/24/1974 | See Source »

...that has no pretension to being heroic. He implies that there is nothing to be learned from these self-conscious monuments to good taste. Rather he looks to the more low-brow, eclectic architecture of the strip as a source of style. Not pure Bauhaus but Bauhaus Hawaiian, Yamasaki-Bernini, and International...

Author: By Lydia Robinson, | Title: Learning From Las Vegas | 12/4/1972 | See Source »

...must commend Robert Hughes' Essay. I too have observed the slow cultural suicide of Italy. The destruction of Italian art is a disaster because it is one of the few human creations with universal appeal. Unlike the beer can-disposable, faddish art of today, a Bernini or Leonardo has a unique, timeless quality...

Author: /time Magazine | Title: Letters, Jun. 26, 1972 | 6/26/1972 | See Source »

...artist ever possessed a city more ravenously than Giovanni Battista Piranesi did Rome. Generations of builders, from the anonymous creators of the Forum to Michelangelo and Bernini, set down that tawny palimpsest on the Tiber. It was left to a failed 18th century architect, who built one long-ignored church on the Aventine, to give the city its definitive shape: the word Piranesian, as a synonym for phantasmagoric grandeur, has entered the language of art. This month, a splendid exhibition of Piranesi's studies and engravings opened at Columbia University in Manhattan; its centerpiece...

Author: /time Magazine | Title: Art: Palaces of the Mind | 4/10/1972 | See Source »

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