Word: giorgios
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...reputation has waxed and waned ever since. When he was in his 50s, he was revered, but in the last years of his life he could scarcely find work enough to sustain him in Venice and had to rely on lesser commissions in the provinces. The Florentine art historian, Giorgio Vasari, erroneously considered Carpaccio a mediocre follower of Giovanni Bellini, and that judgment stood until the 18th century, when critics began to see some merit in his sense of fantasy. But the rise of neoclassicism, which abhorred fantasy, cast him into limbo again, and it was not until Ruskin that...
...Avventura, also, Claudia said that she did not know what was troubling her, but soon she realized that she was falling in love with Giorgio. Vittoria, however, certainly does not love Piero, although she does find him attractive. She tries to avoid all physical and emotional contact with him, and the love-making they do engage in finally is brief and unsatisfactory. Vittoria is not as unable to communicate as she is unwilling, for she fears the abvious solution to her problem: solitude...
...Signature looks to be a single building, but at the proper distance its doors and windows spell the artist's name and its eaves the date. Jokes all, they are. and technically indebted to other painters. Ramapo Hills owes flagrant credit to Franz Marc, Le Pont Neuf to Giorgio de Chirico, Kiki to Modigliani, others to Braque. Léger, Picasso and Magritte. Yet they have much beyond mockery that is their own: enough original sensitivity and so abundant a measure of spontaneity that it almost begins not to matter that the method is imprecise or the execution slapdash...
...sees the tortured Czar as a man who "dies of his own sin, his own dishonesty-not heart trouble or mental illness." At the Met this season, operagoers have seen George London's Boris die twice (broken by the weight of genius); last week's schedule brought Giorgio Tozzi (a tender Boris enraged to death...
...were the only one he possessed. Smiling genially behind his glasses, Wildenstein will suddenly get up from his chair, grab a visitor by the arm and begin steering him around the room. "Look at this," he will say, pointing to an illumination by the 16th century Italian artist Giorgio-Giulio Clovio. "It's a beauty. When one looks at a beautiful painting, il faut jouir, one should be enraptured...