Word: tintoretto
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...plague in his beloved but insalubrious Venice in 1576, still painting, at the patriarchal age of nearly 90 -- he posed dreadful problems for other artists. The length of his career condemned all his Venetian contemporaries to be the second choice of patrons. This must have been especially hard on Tintoretto, born 30 years after Titian, who had every right to expect to inherit the great man's mantle. Titian refused to die until Tintoretto was nearly...
...memories of sculpture, Reni's heroic male nudes -- the Samson Victorious, and the various figures of Hercules done for the Gonzaga in Mantua -- have a sculptural intensity that blots out the rest of the painting. Background figures scurry about in deep recession, half transparent, like wraiths out of Tintoretto; the landscape is simplified into broad plains; against this, the single magnified body rises up. One remembers only the imposing structure turning, as it were, before the eye, displaying its stresses and bulges -- straining for embodiment and yet defeating it with its own supercharged mannerism. More than any other artist...
...late or postmodernism in perspective. Moreover, it takes you away from the throng of dealers and neocollectors who descend on the Biennale like salesmen at a security-devices convention in Akron and would not lightly squander their quality time on something as old hat as a Veronese or a Tintoretto ceiling...
...Lincoln and other moral equivalents. The result of this Mexican standoff was that the Rockefellers effaced the mural, while the Communist Party denounced Rivera for "opportunism." This finished Rivera's career as the conflicted Michelangelo of American capitalism, and he went back to Mexico to become the wholehearted Tintoretto of the peons...
...left). The truth is that the Bacon one sees this time at the Tate has much more in common with old masters than with contemporary painting. The paint acquires a wonderful plenitude in becoming flesh. One thinks of the coruscated light, the Venetian red interstitial drawing, in Tintoretto. This kind of paint surface is part of the work of delivering sensations, not propositions, and it is neither idly sumptuous nor "ironically" sexy. But the one thing it cannot reliably do is fix the extreme disjuncture between Bacon's figures and their backgrounds. The contrast of the two -- the intense plasticity...