Word: titians
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Dates: during 1990-1999
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...what Picasso did for America and Europe in the 20th century. Perhaps less obviously, Velazquez did the same for Spain in the 17th century. He showed that the nation's painting need not be provincial, that it could be open to Europe and, especially, to such Venetian masters as Titian. Titian had made masterpieces for Philip II of Spain; now Velazquez would work on the same scale for Philip IV, grandson of Titian's patron. With Velazquez at the court, Spain no longer needed to import its talent from abroad...
...unified whole. Gardner stipulated in her will that the collection remain exactly as it was originally curated; however, there are occasional rotating exhibitions of contemporary artwork. Currently on display: "Threads of Dissent" The museum also offers concerts on Saturdays and Sundays at 1:30. Not to be missed: Titian's deservedly famous "Rape of Europa...
...16th century Italian painter Dosso Dossi (1486?-1542) isn't a big name in America, unlike his contemporaries Titian, Raphael and Michelangelo. In fact, the show of his work that has just opened at the Metropolitan Museum of Art in New York City--it was shown late last year in his home city of Ferrara, and will go to the J. Paul Getty Museum in Los Angeles in April--is the first retrospective he has ever had. It comes on the 400th anniversary of the dispersal of most of his work, which was taken from Ferrara by papal edict...
...Goya he wasn't, nor a Velazquez, nor a Titian. An American Picasso, maybe? No: the oeuvre lacks that vast span. For someone who had the impact on international art that he did, Pollock had a bafflingly short career. He didn't attain any degree of originality until after his 30th birthday. The arc of the career rises from 1943, when the collector and gallery owner Peggy Guggenheim commissioned him to paint a mural for her Manhattan apartment, to the early '50s--no more than 10 years. The final four years of his life brought a string of pictorial failures...
...20th century is, by now, the merest commonplace. Before his 50th birthday, the little Spaniard from Malaga had become the very prototype of the modern artist as public figure. No painter before him had had a mass audience in his own lifetime. The total public for Titian in the 16th century or Velazquez in the 17th was probably no more than a few thousand people--though that included most of the crowned heads, nobility and intelligentsia of Europe. Picasso's audience--meaning people who had heard of him and seen his work, at least in reproduction--was in the tens...