Word: tintorettos
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Dates: during 1980-1989
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...memories of sculpture, Reni's heroic male nudes -- the Samson Victorious, and the various figures of Hercules done for the Gonzaga in Mantua -- have a sculptural intensity that blots out the rest of the painting. Background figures scurry about in deep recession, half transparent, like wraiths out of Tintoretto; the landscape is simplified into broad plains; against this, the single magnified body rises up. One remembers only the imposing structure turning, as it were, before the eye, displaying its stresses and bulges -- straining for embodiment and yet defeating it with its own supercharged mannerism. More than any other artist...
...late or postmodernism in perspective. Moreover, it takes you away from the throng of dealers and neocollectors who descend on the Biennale like salesmen at a security-devices convention in Akron and would not lightly squander their quality time on something as old hat as a Veronese or a Tintoretto ceiling...
...Lincoln and other moral equivalents. The result of this Mexican standoff was that the Rockefellers effaced the mural, while the Communist Party denounced Rivera for "opportunism." This finished Rivera's career as the conflicted Michelangelo of American capitalism, and he went back to Mexico to become the wholehearted Tintoretto of the peons...
...left). The truth is that the Bacon one sees this time at the Tate has much more in common with old masters than with contemporary painting. The paint acquires a wonderful plenitude in becoming flesh. One thinks of the coruscated light, the Venetian red interstitial drawing, in Tintoretto. This kind of paint surface is part of the work of delivering sensations, not propositions, and it is neither idly sumptuous nor "ironically" sexy. But the one thing it cannot reliably do is fix the extreme disjuncture between Bacon's figures and their backgrounds. The contrast of the two -- the intense plasticity...
...Italy, and especially in Rome, when he was alive. Other exhibitions have focused on how the artist influenced 17th century painting all over Europe. This one shows the painting that influenced him when he was growing up--and the visual pedantry he had to contend with. Except for Lotto, Tintoretto and Bassano, and some beautiful works by Annibale Carracci, Adam Elsheimer and Guido Reni, most of this is deadwood and of interest mainly to specialists. Moreover, the climactic efforts of Caravaggio's career, like the Beheading of St. John the Baptist in Malta (which must be the most sublimely concrete...