Word: tintorettos
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...gifted men set the art of painting on a new course while engaging each other in an intricate call-and-response, some of it admiring, some of it anything but. The complex dynamic of that decades-long game is charted with authority and lots of cinquencento dazzle in "Titian, Tintoretto, Veronese: Rivals in Renaissance Venice," an abundant show at the Boston Museum of Fine Arts. Conceived and co-organized by Frederick Ilchman, a Boston MFA curator, with Jean Habert of the Louvre, it runs through August 16 then moves to Paris, its only other venue. (See pictures...
...less raucous outing, an exhibit of Venetian Renaissance maestros Titian, Tintoretto and Veronese opens Sunday at the Museum of Fine Arts. Quite the smorgasbord, with almost 20 paintings by each. (MFA is open 10 a.m.-4:45 p.m. Sa-Tu, 10 a.m.-9:45 p.m. W-F; $15 with student ID, free Weds. after...
...which opens this week at London's National Gallery and runs through May 23. Born in 1541, Theotokópoulos moved to Venice soon after 1566, and then to Rome in 1570, where he lived in the Palazzo Farnese. While in Italy, he learned from Renaissance masters like Titian, Tintoretto and Michelangelo, and Mannerists like Parmigianino. He readily took on their style; one of several versions of the Purification of the Temple, from the 1570s, quotes extensively from Raphael and Michelangelo. Yet he failed to find great success in Italy, possibly because he made disparaging remarks about Michelangelo, and thus...
...east in artistic matters to the traditions of the Byzantine. By his 20s he was already a recognized local practitioner of the religious-icon style. His gifts and ambition eventually took him to Venice, where his art was transformed by the twisting energies and sensual palettes of Titian and Tintoretto, all of which he turned to his own purposes. In The Purification of the Temple, a scene that he produced in many versions over the years, the poses are borrowed from Michelangelo and Tintoretto, among other sources. And the temple is the familiar architectural space of Italian painting...
...mentor a man who hated abstract art. But when Pollock came under Benton's tutelage, he wasn't aiming at abstraction. Benton's way of composing, with its heftily twisting figures and buckling, scoop-and-bump space, was based on 16th century Mannerism--Midwestern El Greco and Tintoretto; he even adapted the Mannerist device of reducing the figures to geometrical dolls, sometimes modeling them in clay. This vehemence, locked up as a system, appealed to Pollock as a container for his own emotional flailing. Though some painters show early signs of genius, or at least of facility, Pollock showed none...