Word: tiepolo
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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...
...along the way. Mostly he traces, from slides projected on the canvas. And he traces very badly, which lends his quotations from Old Master paintings -- thick on the ground in this show -- an irresistibly comic air. If you are going to "appropriate" an image from Durer or Gericault or Tiepolo or even some routine seicento tapestry, and do it by hand, nobody expects you to draw as well as your sources; but it helps if you can at least draw well enough to make the source clear, and Salle can hardly even do that...
...same complaints might be made about Clarke's Miracolo d'Amore, which is rescued by being exquisitely beautiful. Clarke usually credits a painter with inspiring her imagery. This time it is Tiepolo. But the ancient crone sweeping and cackling, the commedia dell'arte clowns, the quartet of nude women gently interweaving in a dance, the men employing a variety of bird noises, the eerily believable copulation between a girl and a skeleton also bring to mind Cocteau and Gertrude Stein and Picasso and Diaghilev. If more explicitly violent and more frequently nude than necessary, Miracolo is nonetheless a fitting tribute...
...native Sydney, Australia, as a painter. It was the sale of his works that financed his early efforts at art criticism. In 1964 he moved to Port'Ercole, Italy, where, he says, "a permanent fixation on Italian painting from the birth of Masaccio to the death of the younger Tiepolo took over." The experience proved fatal to Hughes' artistic career. He renounced painting because, he says, "having been to Arezzo to see the Piero della Francesca frescoes of the Legend of the True Cross, I realized that I could never in conscience give my own work a decent review." After...
...subsequent designs, Hockney used diverse sources, balancing eclecticism against hedonism: Tiepolo's punchinello figures and Picasso's own designs for Satie's Parade; the paintings of Dufy and Matisse for the imaginary seaside town of Zanzibar in Poulenc's Les Mamelles de Tirésias; Matisse again for the blazing and mysterious red-and-blue moonlit garden in Ravel's L 'Enfant et les Sortilèges; Chinese vase painting for Stravinsky's Le Rossignol...