Word: titians
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Cinquecento Venice also boasted the man whom every European of taste regarded as the greatest painter in the world, Tiziano Vecellio di Cadore, Titian for short. The culture over which Titian presided for most of his long life-he died, probably of the plague, still painting, in 1576, when he may have been anything from 90 to 95-boasted an unusual number of master artists: Veronese, Jacopo Tintoretto, Giorgione, Sebastiano del Piombo, Lorenzo Lotto, Jacopo Bassano, Giovanni Battista Moroni. If one includes the architects and sculptors, such as Jacopo Sansovino and the Lombardo brothers, the decorative artists, the printmakers, then...
...Venetian art that few but specialists were aware of. One is the print, part of the legacy of the 16th century publisher Aldus Minutius. The skill and beauty of the Aldine editions of illustrated works like the Hypnerotomachia Poliphili fostered an unsurpassed quality in Venetian woodblock cutting. Indeed, Titian's twelve-sheet print The Submersion of Pharaoh's Army in the Red tonal vigor and grandeur of notation, is to woodcut what the Sistine Chapel is to fresco...
...possible, by the desire to get away from the too familiar masterpieces. In this case, familiarity ought to mean immovability, since one would not want to imagine the Scuola di San Rocco lending its Tintorettos to England, or the Frari, in a fit of lunatic generosity, contributing its Titian Annunciation...
...outstanding painting in the exhibition has been all but lost to view for generations. It is Titian's The Flaying of Marsyas, normally tucked away in a former episcopal palace in Kromefiz, Czechoslovakia...
Copley never did master the grand manner as prescribed by Reynolds. His huge, ambitious history painting, Watson and the Shark, 1778, is a beloved American classic thanks to, not in spite of, its earnest potpourri of quotations from Titian, Raphael, the Borghese Gladiator and the Laocoon. But at the level of the portrait he was exact and forceful. The tight, heavy faces, didactic hands and subtly registered expressions of Copley's New Englanders read like indexes of American character, and his painting of Thomas and Sarah Mifflin (1773) is one of the great 18th century images of the enlightened...