Word: titian
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Dates: during 1990-1999
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...clear that the once accepted view of Tiepolo was wrong. It said, in effect, that he was a slightly suspect virtuoso--the last of what had been, a fizzing Catherine wheel of talent at the end of the long display of Venetian genius that ran from the Bellinis to Titian, Tintoretto and Veronese. Disapproval of Tiepolo was high-toned; his work did not accord with the moralizing grandeur of a later Neoclassicism, still less with the assumptions of Realism. It was rococo, compliant, theatrical and somehow frivolous. It celebrated a city in deep decline and praised a whole string...
...rise socially. The portrait painter has to have the same values, and preferably move in the same social sphere, as his clients. He must know the details of dress, possessions, gesture, expression--the whole theater of a sitter's self-representation--from within. Titian, Rubens, Van Dyck and Reynolds had shown that; and Copley, in a smaller domain, knew it too. In 1769 he cemented his place in the upper crust of Massachusetts by marrying Susannah Clarke, daughter of a Tory merchant nabob who represented the East India Company's tea interests (it was his tea that was dumped...
...beans, onions, a scrap of lamb or fish sometimes, and garlic, garlic, garlic. It was to French or Italian cooking what the crabby-looking servant girl grinding aioli in Diego Velazquez's Kitchen Scene with Christ in the House of Martha and Mary was to the sumptuous nudes of Titian or Veronese. A modern palate would recoil at the eggs slowly frying, or rather poaching, in oil on top of a clay stove in Velazquez's An Old Woman Cooking Eggs. But what an amazing act of skill the picture itself is, done in 1618 by a 19-year...
...their Arab grooms; the flash in a fighter's eye; the tensed muscles of a lion. He drank color: sonorous reds and browns, flashes of green, veils of cold blue -- a palette he had learned from Rubens. But at the same time he knew, as his idols Rubens and Titian had known, that all the passion in the world is aesthetically useless unless it has the container of form: it was his classical heritage that gave measure, shape and intensity to experience...
Worse, there wasn't the protein in France to feed his imagination. It only existed in Rome: the presence of the recent masters from whom he learned so ! much, like Caravaggio and Annibale Carracci, and the dead ones to whom he owed even more, like Titian and Raphael; the enlightened patronage of such connoisseurs as Cassiano del Pozzo or Cardinal Barberini, for whom he painted his supreme utterance about Roman political virtue, The Death of Germanicus, 1628. Above all, there were the traces of ancient Rome, a buried organism whose disarrayed bones protruded everywhere: columns, capitals, broken herms, arches, battle...