Word: tintorettos
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...gondolas, the sunsets, the changing light, Florian's, Quadri's, Torcello, Harry's Bar, Murano, Burano, the pigeons, the glass beads, the vaporetto. Venice is a folding picture-postcard of itself." But Tourist McCarthy is no ordinary tourist. Whether she is discussing the merits of Titian, Tintoretto, Veronese, Bellini, Giorgione, or building up a rare head of social protest steam over the teen-age slaveys whose eyes are being ruined in the lace factory at Burano, her reflections bear the stamp of a rangy mind not to be fobbed off with commonplaces. To get the feel...
...inspiration, finished a canvas in a matter of hours, destroyed nine-tenths of what he painted by hacking it up with a knife. But oddly enough, Soutine had little sympathy with or liking for Van Gogh's work, claimed as his models such old masters as Rembrandt and Tintoretto, whom he did not remotely match in draftsmanship (though with the hot, jewellike quality of his color, he sometimes came close...
Some of the damage is still comparatively minor, e.g., the crack across the top of Tintoretto's Rescue of Arsinoe. But in the case of Diirer's "Dresden" altarpiece. the damage has resulted in almost total loss; the painting, done on fine linen, was apparently water-stained and rotted (probably while in the Germans' wartime hideout), then clumsily glued onto a wooden panel (probably by the Russians...
...lived for art, was willing to spend as much as "twelve barrels of gold'' at a time for paintings he wanted. An insatiable collector, he acquired such paintings as Vermeer's Girl Reading a Letter (which he thought was a Rembrandt), Rubens' Bathsheba and Tintoretto's Rescue of Arsinoe, in one peak year bought a grand total of 715 paintings. Greatest of Augustus' coups was his acquisition of Raphael's Sistine Madonna, once the property of the Benedictine monks of San Sisto, in Piacenza, Italy. When the painting was brought before him, Augustus...
...hold the attention of his patrons, Tintoretto heightened the drama of his work, wrenching perspective and (Continued on page 83) filling his canvas with staring, hysterical figures. Parmigianino, following the new Mannerist dictum that form springs ready born from the artist's imagination, created a new kind of beauty, slender women with exquisitely enigmatic faces atop long, Modigliani-like necks. Courtiers, modeling themselves on Machiavelli's precepts, flocked to Bronzino for portraits that showed their faces expressionless masks, only a clutching hand or startled stare betraying their tension...