Word: caravaggio
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Dates: during 1970-1979
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...from other centers in Italy, and this gave an eclectic tone to Venetian art. With no dominant brush to impose its presence, as Titian's had, almost anything went -remnants of international mannerism. Venetian color, quotations from Roman or Flemish Baroque, borrowings from the new realism of Caravaggio and his great Spanish follower, Ribera. The city was visited by geniuses, like the young Rubens; but its art colony consisted mainly of third-rate painters turning out ragged marsh peasants, holy Virgins with the rolling eyeballs of mad colts, and wardrobe-like, impermeable nudes...
...virtually no contact at all between Japan and Europe. Yet by one of the odd coincidences of history, art began to move in a similar direction in both places at the same moment: there was a slow shift from high religious subjects toward the themes of everyday life. As Caravaggio painted his gamblers, gypsies and tavern scenes, so dozens of Japanese artists began to set down the details of street festivals and bathhouses on the largest "official" scale known to Japanese art -the byōbu, or folding screens, closely detailed and richly ornamented with gold leaf, which decorated...
...Peter Paul Rubens, one of the five grand masters of 17th century painting-the others, by general consent, being Caravaggio, Rembrandt, Velasquez and Poussin-was born 400 years ago this summer, on June 28, 1577. This birthday has raised memorial exhibitions all over Europe. No anniversary of a comparably great figure could launch so many shows, because Rubens was so prolific. A thousand or so paintings, more than 2,000 drawings, sown from Leningrad to Washington: Rubens was the grand inseminator of the Baroque, a monster of controlled fecundity, erudition and discipline. The biggest Rubens show, the text to which...
...surface. Nothing in earlier European art prepares one for that white, drained skin with its subtle undercasts of color. Rubens quoted anyone he wanted to, without the slightest embarrassment, in a spirit of reasoned homage: the great Entombment of Christ, 1613-15, for instance, is taken almost directly from Caravaggio. The modern cult of originality would have meant nothing to Rubens; he would have regarded it as a form of self-emasculation. The point was to add while taking, and that Rubens did superbly. No painter in previous European art was so capable of rendering the fullness of sentient life...
Rubens continued to influence European art, especially in France, for 250 years after his death, supplying prototypes to generations of painters from Van Dyck to Fragonard, from Watteau to Delacroix, and even to Cezanne. But there is no way he can seem a "modern" painter now-as Caravaggio...