Word: grecos
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...Guards for El Greco. Duncan Phillips was above all else the single-minded connoisseur. His goal: "To stand sponsor especially for the lonely artist in quest of beauty, independent of all cliques and movements." Art, he felt, was to be shared as he had experienced it best, in "an intimate, attractive atmosphere that we associate with a beautiful home." Grandson of a Pittsburgh steel tycoon and independently wealthy, Phillips, after Yale ('08), turned to art. One of his initial loves was Daumier. He bought the French caricaturist's Three Lawyers in 1919, the first of what became...
...purchase the painting, the Art Institute of Chicago had to pay a half million dollars and considers it the most important acquisition since El Greco's Assumption of the Virgin in 1906. Actually, any pricing of Correggio is arbitrary; in his 40 years, he painted only 40 well authenticated works, and until Chicago's purchase only five were owned by U.S. museums.* And, although Connoisseur Berenson judged Correggio "too sensuous, and therefore limited," the artist has remained astonishingly popular through the centuries...
...Journey of the Magi, one of the great treasures of the Italian Renaissance, painted in the 15th century by Benozzo Gozzoli on the walls of Florence's Medici-Riccardi Chapel. Other masterworks in the show include Raphael's Sistine Madonna, Botticelli's Madonna Magnificat, El Greco's Virgin with St. Ines and St. Tecla, and Giorgione's Adoration of the Shepherds...
...medium to medium in an attempt to dissolve the boundaries between reality and dreams. "Have you ever been to a subway station?" he asks. "It is a totally man-made world of pure fantasy." For his Costume Party, the theme "left me free to range from contemporary experience to Greco-Roman metamorphosis of man to beast. It's illustrative of the many faces between man and woman in the nature of reality...
...European painters found themselves losing the Renaissance reverence for Greco-Roman antiquity. Following the Italian artist Caravaggio, they stopped looking backward and returned, as artists have done repeatedly throughout history, to the direct observation of the visible world. What they saw was a growing middle-class life in an ever more secular society, and they depicted it with theatrical relish...