Word: raimondi
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Dates: during 1980-1989
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...would give you, me or Jesse Helms a hernia. These, like so much of Giulio's other work, may have come from a classical prototype: the spintriae, or tokens, stamped with obscene designs that were used for entry to Roman brothels in the second century A.D. The engraver Marcantonio Raimondi turned Giulio's I Modi (Ways, for short) into prints, and in this form they became enormously popular. They are still the most famous examples of visual pornography in Western art, although four centuries of attrition by prudery have destroyed almost all of them...
...Giorgionesque engravers Giulio and Domenico Campagnola. Watteau copies one Campagnola landscape; Rubens takes a motif from another, Rembrandt from a third. These hard, wiry- lined little engravings, with their slightly metallic nudes and sudden dark explosions of vegetation, are to the circulation of ideas about landscape what Marcantonio Raimondi's copies after Raphael are to the human figure: veritable talismans of influence...
...following the rules is hard/If you don't love me, I love you/And if I love you, then be on your guard." And with these lines from "Habaneras" the stage is set for the fateful love triangle involving gypsy Carmen, Don Jose (Placido Domingo) and the bullfighter Escamillio (Ruggero Raimondi...
...individual performances are nearly flawless. Mignes-Johnson combines a mesmerizing screen presence with a powerful voice. Both tenor Domingo and baritone Raimondi are also on the mark, although their acting is stiffer than Mignes-Johnson's. One only hopes that the soundtrack has been doctored as little as possible, because that would add a technological taint to what appears to be a wholly natural and soaring film...
...course, the Déjeuner: two women-one completely naked, the other virtually so-and two clothed men, occupying the foreground of a sketchily painted Arcadian landscape. We have been taught to see its allusions stick out like elbows (here a homage to Giorgione, there a quotation from Marcantonio Raimondi), but what infuriated the audience at the Salon des Refusés in 1863, and has caused so many gallons of ink to be spilled on it since, is its insolubility as narrative. An "uncouth riddle," one critic called it. What are those people doing? One modernist answer is that...