Word: titians
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Dates: during 1960-1969
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...long ago, gallerygoing was a genteel affair. To and fro across carpeted floors swept the art lovers, sipping sherry. Safely up on the wall were the paintings, framed and titled, with prices on request. But no longer do the panes of varnish give onto idyllic visions of pinky Titian nudes, fluffy Millet sheep, plush Poussin valleys. Nowadays, avant-garde gallerygoing is more like the full 100 yards, with the visitors swivel-hipping through art works that threaten to tackle the visitor's body as well as his sensibilities (see color pages...
...when he died. Historians passed him by, and the only accounts he left of his own life are nagging reminders of the difficulty he had collecting payment for his paintings. One can perhaps forgive his age for slighting Girolamo Romanino. It was, after all, in love with Raphael, Leonardo, Titian and Michelangelo...
Rustic & Cantankerous. Romanmo probably studied in nearby Venice. His painting shows that he was conversant with that city's greats, and when he chose, he could paint as splendrously as they-more than one of his pictures has been attributed to Giorgione or Titian. It was more characteristic of him to siphon his Biblical subjects through what a Brescia critic once described as "the rustic and cantankerous dialect of his own district." The results were often warm and whimsical. Windows and archways open onto rocky landscapes typical of the region. His Saviour is not the emaciated, sublimely anguished figure...
These priceless oils were buried under layers of ignorance, neglect and anonymity," explains Neumann. Tintoretto's Flagellation, with all the master's mannerist mystery of depth, stage lighting and evanescent flesh tones, had been attributed to a copyist. Titian's Toilet was supposedly by his son Orazio, although the supple shoulder line and illusory intermingling of the young woman's ripply tresses with her fluid sleeve reveals the artist's lustrous trademark...
...soon share in long-term loans of 857 first-rate paintings. While only the residue of vast hoards of some 80,000 art works repatriated after the war, the art bounty, now in gilt frames stacked like storm doors in the cellar, is resplendent with Botticelli, Cranach, Tiepolo and Titian. There are scads of Flemish masters, but not a scrap of canvas from 19th century France, whose artists Hitler scorned as the fathers of decadent modernism...