Titian’s paintings are masterpieces, with all the complications of the term.
Titian was, as the great English poet Geoffrey Chaucer would put it, a ‘man’s man,’ accustomed to showing off his posturing pride.
Titian’s “The Flaying of Marsyas” is among the most celebrated and disturbing images the Venetian master ever painted.
Art and power have a strong mutual attraction; in the West, their passionately shared interest is the nude body – particularly the female one.
I realize that I’m coming late to the party with Unfinished: Thoughts Left Visible, one of the three debut exhibitions of the Met Breuer, and I have little to add to the conversation about the fundamental problem with the show.
It seems like ever other month a new painting by an Old or New Master is being rediscovered after a stint of obscurity in someone’s palazzo, basement, yard sale, or, in this case, in museum storage. London’s National Gallery, which you’d think would know exactly what it had, has discovered what they believe to be a painting of Girolamo Fracastoro, the man who “discovered” syphilis, by the great Venetian Renaissance painter Titian.
A Minneapolis Institute of Arts (MIA) billboard for the upcoming Titian and the Golden Age of Venetian Painting exhibition got a little wardrobe change earlier this week. The question is, who did it? A street artist or the MIA’s PR team? Wait … what?
Two European museum powerhouses, the Museo Nacional del Prado in Madrid and the Hermitage in St. Petersburg, have signed an agreement to temporarily swap 236 art masterpieces in what it is an unprecedented exchange between two major art institutions.