Word: guardi
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...portrait of Campaspe, the mistress of Alexander the Great, which so pleased Alexander that when it was finished, he kept the painting and gave Campaspe herself to the artist. In the painting Tiepolo is Apelles, at the easel; the woman posing as Campaspe is Tiepolo's wife, Cecilia Guardi; Alexander is just an extra, a studio model. Apelles looks at her, his black servant looks at him, Alexander studies them both, and a little dog glares out at us: a circle of self-referential glances in lighthearted parody of the Antique...
Italian Old Master Drawings from the Collection of Jeffrey E. Horvitz. Through Oct. 11. Thirty-eight Italian drawings ranging in date from the 16th to the 18th centuries. Among works featured are masterpieces by Giulio Romano, Guercino Casstiglione, Tiepolo, Salviate, Cnaletto and Guardi...
...construction on the world's largest Gothic cathedral, St. John the Divine, that soaring seraph of acrobats Philippe Petit, 33, tiptoed to the church across a 250-ft. wire slung 15 stories above Manhattan. The inspiration, notes Dean James Parks Morton, came from an 18th century painting by Guardi depicting circus performers outside San Marco in Venice. Having an aerialist perform, says Morton, "is proof of faith, like nothing else." And he has that on the loftiest authority...
...auction, under the noses of other top experts, at a tiny fraction of its present million-dollar value. "When you've become familiar with the work of a master, it's like recognizing a friend's handwriting," he once said. Among his finds were five Francesco Guardi canvases rolled up in an Irish country shed; two Tiepolo ceiling paintings, one in the drawing room of London's Egyptian embassy and the other at a golf club outside London; and a Caravaggio in an English country home. So renowned were his feats, it was said that financially...
...convey his ideas in pictures. He published a volume of twelve visionary buildings that dramatized his spaces by the diagonal perspectives of stage design. But his work created no stir, and he was forced to return to Venice, where the presiding geniuses at the time were Tiepolo, Canaletto and Guardi. The influence of Tiepolo freed Piranesi's line from cramped meticulousness favored by architectural engravers of the day. The result can be clearly seen in the Morgan show, where sketches for decorative panels and figure studies echo Tiepolo's and Guardi's free draftsmanship...