Word: guardi
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Dates: during 1950-1959
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...paintings included Rembrandt's Old Man Seated, Rubens' Flight Into Egypt, Flemish Dierick Bouts' The Annunciation and outstanding canvases by Corot, Degas, Boucher, Guardi, Fragonard, Frans Hals, Van Dyck, Manet, Monet, Renoir. Eventually Gulbenkian made the same offer he had made London: all the pictures free forever-if the gallery built a special Gulbenkian annex to house them. With regret the National Gallery refused, stuck grimly to the rule that its permanent works be displayed by schools and periods, not by collectors...
...major operation. For the whizzing variety of incident must be duplicated by musical, visual, verbal, choreographic variety of treatment. Seldom, thanks to Scene Designer Oliver Smith and Costume Designer Irene Sharaff, has calamity been more glowingly or sumptuously caparisoned; such things as the stage set of Lisbon and the Guardi-like Venetian figures are superb. And seldom has so complicated a show received such expert and animated staging as Tyrone Guthrie has provided...
...18th Century Venetians: Canaletto's near-photographic panoramas of Venice could be bought for a few hundred dollars 15 years ago, now cost up to $30,000. A small pair of cityscapes by Francesco Guardi sold for $7,700 in 1946, brought $25,200 at auction in London last March. One reason for the comeback: the present fashion for imitation 18th century interiors. (Because early Renaissance furniture does not appeal to decorators this year, prices for Italian primitives are down...
...Naked Emperors. Goya's foreign contemporaries -Guardi, Gainsborough, Fragonard-specialized in elegance. Goya did too, but instinctively pricked the bubbles he blew, fastening on the frivolous, pompous and stupid personalities inside the fine clothes of his noble sitters. Like the naked emperor of the fable, they seemed not to notice. Charles IV made him court painter and gave him a carriage. Occasionally Goya was commissioned to portray a beautiful woman, which enabled him to exhibit a warmer side. Friends who sat for him got off lightly; he could still admire...
Naked Royalty. In art, it was a period dominated by elegance and smugness. His contemporaries, Guardi in Italy, Fragonard in France and Gainsborough in England, all devoted 'themselves to the depiction of pomp and pleasure. Goya did, too, but he painted pompous fools and smirking harlots. He was as harsh and realistic a portraitist as ever lived (and sometimes a surprisingly offhand one), but that did not prevent him from becoming Madrid's court painter. Goya's paintings of the royal family were much admired, for no one dared admit that he showed them naked...