Word: cinquecento
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...automobiles, says Giuseppe Berta, a Milan-based car-industry expert. "At this point, Chrysler can say it tried to get out of a corner, that it found a European company that makes more marketable cars," says Berta. "But if you want to actually use Chrysler facilities to construct a Cinquecento or Alfa MiTo, you're talking about a major cost." (See the 50 worst cars of all time...
...were inspired by him. The latter group, ranging from Veronese, Tintoretto and Jacopo Bassano in Venice to Savoldo in Brescia and Dosso Dossi in Ferrara, is large, since Titian was one of the half a dozen or so most influential painters who ever lived. Among Venetian artists of the cinquecento, only Lorenzo Lotto, that great independent, resisted the pressure of his style...
...Washington, and Duncan Phillips, its founder, had a sensibility light-years removed from the disgusting scrimmage of raw capital that the art market has now become. He was a scholarly aesthete, and one of his firm beliefs (about which he published a book in 1937) was that the Venetian cinquecento was one of the essential sources of modern art: from its prototypes eventually came the measured sense of "luxury, calm and pleasure" that was one of the marks of the School of Paris. The Pastoral Landscape is, among other things, an homage to this idea, and its excellent catalog essays...
...Cinquecento Venice also boasted the man whom every European of taste regarded as the greatest painter in the world, Tiziano Vecellio di Cadore, Titian for short. The culture over which Titian presided for most of his long life-he died, probably of the plague, still painting, in 1576, when he may have been anything from 90 to 95-boasted an unusual number of master artists: Veronese, Jacopo Tintoretto, Giorgione, Sebastiano del Piombo, Lorenzo Lotto, Jacopo Bassano, Giovanni Battista Moroni. If one includes the architects and sculptors, such as Jacopo Sansovino and the Lombardo brothers, the decorative artists, the printmakers, then...
...Venice was generous to all its artists, and one of its gifts was light, that clear, mutable ambient light of the lagoon, a continuous tissue, indulgent to color and eager for sensuous reflection in paint. Light and color in the Venetian cinquecento are all of a piece; they rarely separate into the more schematic divisions of Florentine painting, and the didactic starkness of the idealized body is always softened by its atmospheric envelope. It is the action of light, more than any other first impression, that one remembers from Veronese's Venus and Adonis, for example, with its rosy...