Word: titians
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...partnership deals arranged by Straw. One was to purchase a collection of antique furniture. The second was to buy eleven paintings that included a Mary Cassatt and a Winslow Homer. The third involved a spectacular $15 million group of 31 old masters and French impressionists, including a Rembrandt, a Titian, two Renoirs and three rare Seurats. Benedek said he put up $1.5 million for a half share in the first two deals and more than $1.8 million for a smaller share in the third, both paid partly in cash and partly in credits...
Some moments in art history used to seem beyond resuscitation. Seventeenth century Venetian painting was one of them. Nobody bothered about it. It was an orphan, huddled between the father figures of the Venetian cinquecento-Titian, Veronese, Tintoretto-and the effervescent grandeur of the Tiepolos in the 18th century. Even today, when scholarship and the art market have opened every mass grave in search of something to write about and sell, the names of painters like Damiano Mazza or Alessandro Turchi do not make the pulse race...
...Africa in increasing numbers, had taken away Venice's old monopoly of the spice trade. Venice was turning from an imperial power into a cultural artifact. As such, she was one of the most visited cities of Europe. For an artist, a trip to see the Bellinis and Titians was an obligatory part of his education-as necessary, if he wanted to paint murals in the grand manner, as studying the classical ruins of Rome. Painters flocked to Venice from north of the Alps as well as from other centers in Italy, and this gave an eclectic tone...
...make these reproductions? ask the defenders. Doesn't copying have a long history? Doesn't all we know of some lost Greek sculptures comes from Roman copies of the originals? Didn't Rubens copy Titian, and Delacroix Rubens, and so on down the history of art? Perfectly true: but in every case an artist was doing the copying and the result was another work of art. There is no relationship between the copies Rubens made, in the high humility of his mature age, in order to keep learning from Titian, and the mass production of plastic Egyptian...
Unfortunately, De Chirico had nei ther the technical proficiency nor the mastery of drawing to reach his declared goal: a delayed place in the Renaissance tradition. His mythological scenes, in imitation of Titian, were leaden and vacuous; his nudes, meant to emulate Rubens, had the consistency of overboiled gnocchi; homage kept turning into parody. In the meantime De Chirico railed furiously at the modern movement; Braque and Matisse were "malodorous" and surrealism was a brainless obscenity...