Word: titians
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
None of this was completely new in painting -- you have only to think of Titian, Rembrandt's father figure and model, and of Caravaggio, whose dirty- feet realism had such an impact on the Dutch master when young. But Rembrandt put the elements of dramatic narrative, character description and history painting together in a way that had not been attempted before, and has scarcely been rivaled since...
...this or the later Kenwood Self-Portrait (circa 1665), with its sketchy construction (arcs in the background, a near Cubist flurry of angular brush marks to indicate palette and brushes), as being a long way from the Italian Renaissance, but in fact they are grounded in it and in Titian's late manner...
...puritan sects, one masquerading as conservative, the other posing as revolutionary but using academic complaint as a way of evading engagement in the real world. Sect A borrows the techniques of Republican attack politics to show that if Sect B has its way, the study of Milton and Titian will be replaced by indoctrination programs in the works of obscure Third World authors and West Coast Chicano subway muralists, and the pillars of learning will forthwith collapse. Meanwhile, Sect B is so stuck in the complaint mode that it can't mount a satisfactory defense, since it has burned most...
...collection was worth $450 million, but most of it is junk: a mishmash of second- or third-rate work by famous names. The Rembrandt Juno is one of his weakest paintings -- large, flat and gross. The Rubens Adoration of the Shepherds may not be by Rubens at all; the Titian, not by Titian. The Leonardo pages, installed in a sort of dim mortuary chapel of their own, look ridiculously anticlimactic. The Impressionist work is as dull as could be. And, except for the Van Gogh and one early Gauguin, so is the more modern material. Only the Daumier holdings have...
...after all, the son of a silk merchant in Antwerp), the brightness of flesh or the passing melancholy that settles on a face, the layering of vapor and light in the sky, the sheen of armor. In this sense of lavishness he was, of course, very much Titian's heir, and it is wonderful to see how much pictorial interest he could discover in inert substances -- particularly the brocades and velvets worn by his sitters -- in the course of translating them into patches and trails of pigment on canvas. He endowed the gold damascened parade armor of Emmanuel Philiberto...