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Most strollers in Manhattan's Metropolitan Museum of Art passed by Carpaccio's murky, golden Meditation on the Passion without noticing anything wrong. Those who looked twice saw that the label said Carpaccio but the picture was signed "Andreas Mantinea" (Mantegna...

Author: /time Magazine | Title: Art: 16th Century Fraud | 8/27/1945 | See Source »

Scholars had long felt sure that the Meditation was Carpaccio's, but it took microchemical tests to prove it. Beneath three layers of varnish, the Met's experts came across some 16th Century skullduggery. A forged Mantegna signature had been added with the innermost layer...

Author: /time Magazine | Title: Art: 16th Century Fraud | 8/27/1945 | See Source »

Infra-red photography, which will pierce a layer of pigment, showed a different inscription underneath: "vjtorjs carpattjj venettj opus (Work of Vittore Carpaccio of Venice)." Using solvents which would not harm the original painting surface, a technician removed the varnishes. The forged signature came off too, but Carpaccio's remained almost illegible. The reason: Carpaccio had apparently painted it out himself...

Author: /time Magazine | Title: Art: 16th Century Fraud | 8/27/1945 | See Source »

...Just why Carpaccio had gone anonymous, after finishing so masterly a painting of Job and Jerome seated with Jesus, no one seemed to know. But most experts could guess why Mantegna's name was forged to it: in the 16th Century (though not today) Mantegna was considered a greater painter than Carpaccio...

Author: /time Magazine | Title: Art: 16th Century Fraud | 8/27/1945 | See Source »

...selection of drawings touches great names an types in this field. Typical of the Florentines are the figures by Fillipino Lippi and Andrea del Sarto; of the Venetians, a boarded head by Carpaccio. Among the Germans are two Durers, and a follower of Holbein. The French are represented in their classic vein by the revered Claude and Poussin, in their elegance by Watteau and Fragonard...

Author: NO WRITER ATTRIBUTED | Title: Collections and Critiques | 5/14/1935 | See Source »

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