Word: painters
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Dates: during 1990-1999
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Anyone who feels uncomfortable with the sheer artificiality of art is likely to have difficulties with Giambattista Tiepolo, the greatest Italian painter--and one of the three or four chief European ones--of the 18th century. Though based on intensive study of the human body, his work is about as realistic as grand opera. Enter it, and you're inducted into a majestic yet unpredictable fantasy land. It is full of soaring and twisting space, transparency and delicious shot-silk color--a place dedicated to the imagination and filled with idealized personages from history, myth and fable...
...after all, one of the most sadistic moments in Catholic iconography: a woman's breasts have just been cut off and are seen on the dish held by the androgynous youth on her left), asserts something that has often been downplayed in assessments of Tiepolo--his power as a painter of sacred experience. Keith Christiansen, the Met's curator, has rightly set out to correct this by giving over a whole gallery of the Met to the religious paintings. He has revealed a deeper Tiepolo than we're used...
...movement, such as it was, had only one (relatively) heavyweight American in its membership, the painter, photographer and objectmaker Man Ray. Its spirit was best exemplified by two foreign artists who enriched the New York scene by visiting it--the Frenchman Marcel Duchamp and the French-Cuban Francis Picabia. Their impact goes back to the far-famed Armory Show of modern art, held in 1913, which first gave a mass American audience a chance to see modernism...
...chain of ownership has also been the subject of considerable dispute. Some specialists trace it directly back to the painter's sister-in-law. Tasset and others claim the first owner was the art dealer Amedee Schuffenecker. That would raise serious questions: Schuffenecker was notorious for selling fake paintings, and his brother Claude-Emile, a friend of both Van Gogh's and Paul Gauguin's, was a skillful copyist of their works. Thus many doubters believe Jardin a Auvers was actually painted by Claude-Emile Schuffenecker (1851-1934). If so, its celebrity is a vindication of sorts for a painter...
...making celestial music for a choir of angels. It is a version of the dream of unmediated childhood vision in the work of William Blake, "the noble English genius," as Beckmann called him, "a superterrestrial patriarch." It also represents the starting point of Beckmann's lifelong quest as a painter, his quest for the self, "the great veiled mystery of the world...