Word: giorgios
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...American artists to whom he is closest are Edward Hopper and his fellow Californian, the late great Richard Diebenkorn; among Europeans, the names Giorgio Morandi, Chardin and Manet are among the first to pop up. But he is also one of those painters who, happily, feel entitled to pick and quote wherever they choose: he does not suffer from the snobbery of influence. "The sublime of Orange Crate art," critic Adam Gopnik writes in his catalog introduction, and one knows just what he means. Thiebaud is one of the few American artists whose ambitions have no Puritan or didactic dimension...
...this sense, Ablow’s work most resembles that of Giorgio Morandi in the 1940s and 1950s. Morandi, called the father of the contemporary still life, relentlessly painted the same enamel bottles and china bowls for decades, using a palette that never wandered more than a shade away from gray. Like Morandi, Ablow is concerned with exploiting a pictorial brand of truth, discovering something universal in the shape of insipid junk...
...rivalry between GIORGIO ARMANI and Gianni Versace did not end with Versace's death. In this month's Vanity Fair, Armani claims that Versace once confided to him that while Armani clothed elegant women, Versace himself "dressed sluts." Not content with the compliment, Armani jokes, "molto slutty." Versace's sister Donatella told Italian papers she is "absolutely sure that what Mr. Giorgio Armani asserts is untrue," and indeed Armani, 66, has already backtracked, explaining that he meant "slutty" in a good way. "Versace's style is known for its aggressiveness--it's totally different from mine. That...
...canonization of Pope Pius IX goes against the feelings of most people. We associate sanctity with heroines like Mother Teresa of Calcutta, not aristocrats at the top of the Catholic hierarchy who lived in golden palaces as kings. GIORGIO DI PRIMIO Bologna, Italy...
...suffering and crucifixion. They were marketed to the masses, as devotional material to be studied in quiet meditation. Bound together into books, they were sold by Drer's wife at local fairs and by clergy at places of pilgrimage. According to the first and most unreliable of art historians, Giorgio Vasari, Drer's mid-life journey to Italy had as much to do with protecting his copyright as with studying classical volumes and perspective...