Word: titian
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Dates: during 1970-1979
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...appreciation to create an art program that would give the public a well-needed moral lift. It was the committee's decision to select the world's most famous paintings from the 16th, 17th, 18th, 19th and 20th centuries - the best paintings of Matisse, Van Gogh, Gainsborough, Picasso, Gauguin, Titian, etc., and to reproduce them in full color as perfectly as humanly possible and make them available to the public at a price within the reach of nearly everyone...
...that singular life better than these calamitous daubs. Yet in its way, the Avignon show may perform some service to Picasso's reputation. It is hard to see it and retain as workable the myth that everything he painted was touched with genius, and of importance. Unlike Titian or Michelangelo, Picasso failed in old age. To perceive this is to be freed, to some extent, of the hagiographic icing that still obscures him. But it does not reduce the dimensions of his actual achievement...
Picasso's wealth created a flamboyant archetype of success that has affected every creative life for the worse, though nobody expects to be as rich as Picasso. Not even the conspicuous earners of the past, like Rubens or Titian, made that kind of money. Thus out of the production of one year, 1969-70, he exhibited 167 oils and 45 drawings; in all, the gross market value of that fragment of his output was probably about $15 million, and the value of Picasso's whole estate has been guessed at $750 million or more. Although Picasso had long...
...DOUBTFUL whether any other painter in history produced so much in such a long lifetime as Pablo Picasso. Titian lived to be 99, but only an artist of such diverse styles, such daring experimentation, such natural feeling for his media as Picasso could show such rich variety and consistent excellence in an oeuvre spanning almost 80 years. Always, this production was at the forefront of art in the twentieth century. Picasso was the last, and possibly the greatest of the modernist giants...
...visual culture that was not so accessible to earlier masters of photography like Nadar and Oscar Rejlander. In his 20s, Steichen's prints frankly imitated the "look" of paintings; a famous image of J.P. Morgan, glaring over his bottle nose out of the gloom, comes as near to Titian as photography can, and the gum-print and pigment-print portraits that Steichen made of himself and his friends, reworking the image with eraser and fingers, seem like deliberate homages to Whistler. The melting halftones, the silvery highlights and atmospheric blurs (he would spit on the lens, or kick...