Word: titians
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...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...
...pink -- is bright and boring. Yet you could never write De Kooning off. He came back in the late '70s with some big, rapturously congested landscape-body images with a deeper tonal structure that, though they do not support the comparisons to late Monet, Renoir, Bonnard "and, of course, Titian" that David Sylvester makes in his catalog essay, certainly confirm that the movement of De Kooning's talent was not on-off, but ebb and flow...
Last Sunday, we paid another visit to directress/raconteur Erica Werner in her faux-Titian dorm room. Outside it was cold and dreary, but inside we found Ms. Werner in fine fettle, cooing merrily at her Bonsai tree. Clad in a chain-metal sheath and matching elbow-length gloves, both by Gaultier, with hair by Vidal Sassoon, Ms. Werner discoursed savvily on topic ranging from the Knights Templar to the common cold. As always, we were impressed by her smarts. But we were not where we were--that is, in the presence of genius disguised as high fashion--to engage...
...brighter look, once revealed, is certain to generate debate. Says Mancinelli: "((The fresco)) wasn't painted in Tuscan color that you might associate with Michelangelo, who spent much of his life in Florence. Rather he used the warm palette of Venice. Obviously Michelangelo had seen the works of Titian and was influenced by them...