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...Washington, deputy White House presssecretary Roman Popadiuk said the Bushadministration hoped the shake-up "is a step onthe road to stable and evolutionary reform...
...frescoes, where it seems heavier and overdetermined. But with Giulio, design and invention were inseparable, and their combination is worn so lightly that one may not realize how difficult were the problems he set for himself. How do you create long processional friezes of figures based on a Roman triumph, as in the Stucco Room at Palazzo Te, without monotonously repeating poses and gestures? How do you cram an imagined temple with such an excessive throng of spectators that the Circumcision of Christ looks more like a PEN dinner thrown by Gayfryd Steinberg, and yet keep the action coherent? Virtuosity...
...blacksmiths in a forge, and sometimes in ways that 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...
This outburst of randiness may have cost Giulio his Roman career. Raphael was dead, and his former assistants were now maneuvering on their own for the big commissions. But with Luther raging against Vatican corruption and a reformist chill blowing through the papal court, Pope Clement VII was not going to make a pornographer his official painter. At this point Baldassare Castiglione, Raphael's friend and author of The Courtier, fixed Giulio up with his job in Mantua...
...Room of Psyche, the physical effervescence and the characters of the picnicking gods are set forth as explicitly as in a Roman pantomime, and one can easily see why Giulio had such an influence on Rubens and Poussin. Lusting, half-tipsy, bare bottomed and prone to fits of hilarity and rage, Giulio's Olympians cavort and cuckold one another across the walls to the accompaniment of all manner of phallic puns. When sword-brandishing Mars is seen pursuing Adonis, whom he has just caught in flagrante with his wife Venus, even the antique statues in the background display their truncated...