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Strolling over the Louvre's polished parquet floors, Bazin likes to philosophize on two great portraits. Titian's Francis I (who seems to be examining the jewel of his collection, Leonardo da Vinci's Mona Lisa) and Hyacinthe Rigaud's Louis XIV (loftily surveying the great expanse of the 300-yard-long Grande Galerie). Both have a right to their proprietary air. Bazin feels, since, along with Napoleon, they are among the Louvre's greatest benefactors...

Author: /time Magazine | Title: Art: Masterpieces of the Louvre: Part I | 6/30/1958 | See Source »

Largesse & Looting. France's "Sun King," Louis XIV, let fall his rays first on the Louvre before building Versailles, tripled and quadrupled the royal collection. Into the royal preserve came such masterpieces as Titian's Young Woman at Her Toilet (the property of Britain's Charles I until his beheading) and Titian's Madonna with a Rabbit (which Louis won from a French duke at tennis...

Author: /time Magazine | Title: Art: Masterpieces of the Louvre: Part I | 6/30/1958 | See Source »

...brown his trees appeared to normal vision because he was colorblind. "A fuzziness or what art historians would call "breadth,' " he went on, is the weakness of eyes that comes with age, and "is very apparent in the latest paintings of long-lived artists like Rembrandt and Titian." Finally, Trevor-Roper moved to a deeper area of speculation: the tendency of cubists and constructionists to represent nature in rigid geometric patterns, he said, may be explained by pressure on the pineal gland behind the eyes...

Author: /time Magazine | Title: Art: Through Uncorrected Eyes | 3/3/1958 | See Source »

...historians long ago confirmed the ties between Bellini and Titian. Bellini, the master of 15th century Venetian painting, was more than 80 when he delivered his Feast to the proud, warlike...

Author: /time Magazine | Title: Art: SECRETS BELOW THE SURFACE | 2/17/1958 | See Source »

Duke Alfonso I d'Este of Ferrara and his wife, Lucrezia Borgia. Bellini had called on the young talent of Titian to help finish the great canvas. After Bellini's death in 1516, Titian-who became the new Venetian master-won the commission to paint three other large, allegorical paintings for the duke's Renaissance study. As an added service, Titian repainted sections of the Feast to make it accord with the more luxury-loving tastes of his time-and, incidentally, to accord more with his own oils...

Author: /time Magazine | Title: Art: SECRETS BELOW THE SURFACE | 2/17/1958 | See Source »

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