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Ekphrasis is so dead

Adam Mars-Jones: ‘The Late Americans’, 29 June 2023

The Late Americans 
by Brandon Taylor.
Cape, 303 pp., £18.99, June 2023, 978 1 78733 443 4
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... original Gorgon poem’s title – ‘Andromeda and Perseus’ – which inverts the title of a Titian painting and thus makes female suffering central. In general he deprecates the device of incorporating one artform into another: ‘Ekphrasis is so dead, man. Bleak and needy shit.’ Even so, the book conducts a certain amount of ekphrastic ...

Hare’s Blood

Peter Wollen: John Berger, 4 April 2002

The Selected Essays of John Berger 
edited by Geoff Dyer.
Bloomsbury, 599 pp., £25, November 2001, 0 7475 5419 6
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... of artists from Chardin to Rembrandt (by far the most frequently), Rubens, Signorelli, Stubbs, Titian, Turner, Van Eyck, Velázquez, Veronese, Vouet and Watteau. Often they were discussed in direct comparison with a contemporary artist whose work interested him. Thus Picasso was compared to Goya, in respect to their drawings, or Kokoschka to Rubens, in ...

The Shoreham Gang

Seamus Perry: Samuel Palmer, 5 April 2012

Mysterious Wisdom: The Life and Work of Samuel Palmer 
by Rachel Campbell-Johnston.
Bloomsbury, 382 pp., £25, June 2011, 978 0 7475 9587 8
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... was down partly to the Italian light and air, and partly to the landscapes of Giorgione and Titian: ‘I can never paint in my old style again,’ he dutifully reported back to Linnell. ‘Both Italy and marriage were fatal,’ Grigson says, bleakly; and Campbell-Johnston doesn’t dissent from that view. There is much to admire in the Italian ...

The Misery of Not Painting like others

Peter Campbell, 13 April 2000

The Unknown Matisse: Man of the North, 1869-1908 
by Hilary Spurling.
Penguin, 480 pp., £12.99, April 2000, 0 14 017604 7
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Matisse: Father and Son 
by John Russell.
Abrams, 416 pp., £25, May 1999, 0 8109 4378 6
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Ruthless Hedonism: The American Reception of Matisse 
by John O’Brien.
Chicago, 284 pp., £31.50, April 1999, 0 226 61626 6
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Matisse and Picasso 
by Yve-Alain Bois.
Flammarion, 272 pp., £35, February 1999, 2 08 013548 1
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... and coloured-in figures are in classic poses which you (rightly) feel you could trace back to Titian or Ingres. There are a couple of piping shepherds and in the distance a ring of dancers who will appear in one form or another in later works. The ground is yellow, the grass mauve as well as green. Many of the figures are set off by strong background ...

Make Something Happen!

Julian Bell: Paint Serious, Paint Big, 2 December 2010

Salvator Rosa: Bandits, Wilderness and Magic 
by Helen Langdon, Xavier Salomon and Caterina Volpi.
Paul Holberton, 240 pp., £40, September 2010, 978 1 907372 01 8
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Painting for Profit: The Economic Lives of 17th-Century Italian Painters 
by Richard Spear and Philip Sohm et al.
Yale, 384 pp., £45, 0 300 15456 9
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Caravaggio: A Life Sacred and Profane 
by Andrew Graham-Dixon.
Allen Lane, 514 pp., £30, July 2010, 978 0 7139 9674 6
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The Moment of Caravaggio 
by Michael Fried.
Princeton, 304 pp., £34.95, 0 691 14701 9
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... Venetian commentators. What room for manoeuvre was there now left, in the wake of Bellini, Titian, Veronese and Tintoretto? No doubt similar grumbles could have been heard in Rome too. A foundational tenet for all adherents to rationalism, from the Carracci to Maratta, was that God – i.e. Raphael – had departed this world in 1520. Painters who ...

Diary

Alan Bennett: A Shameful Year, 8 January 2004

... to buy and now here it is outside the back door.15 May. After supper we go down to look at the Titian exhibition, now in its last few days at the National Gallery. It’s 10.15 and the doors have only just closed so that the rooms still smell of the hordes that have been passing through; there are screwed up tickets on the floor and abandoned programmes ...

You are not Cruikshank

David Bromwich: Gillray’s Mischief, 21 September 2023

James Gillray: A Revolution in Satire 
by Tim Clayton.
Yale, 400 pp., £50, November 2022, 978 1 913107 32 1
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Uproar! Satire, Scandal and Printmakers in Georgian London 
by Alice Loxton.
Icon, 397 pp., £25, March, 978 1 78578 954 0
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Media Critique in the Age of Gillray: Scratches, Scraps and Spectres 
by Joseph Monteyne.
Toronto, 301 pp., £49.99, June 2022, 978 1 4875 2774 7
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... hoodwinked West and seven other academicians to purchase (at ten guineas each) the ‘secret’ of Titian and his classic Venetian colouring. Gillray lined up the gullibles, seated and well-behaved like spaniels awaiting their biscuits, each with his easel ready and palette filled, and each emitting a thought balloon with a distinctive motto: ‘Will this ...

Diary

Alan Bennett: What I did in 1998, 21 January 1999

... Being a particularly human painter with quite a limited output Carpaccio is an artist, unlike Titian, say, or Veronese, who has fans. His grave, long-nosed elegantly turned-out young persons people a Venice that is still walkable-through today, though the picture here I would most have liked to see again isn’t of Venice at all but of the monks thrown ...

Masters and Fools

T.J. Clark: Velázquez’s Distance, 23 September 2021

... art whose subjection to ageing, to ordinary wear and tear, is treated so relentlessly? Maybe in Titian. Maybe a tortured Christ. But Velázquez’s Mars is anti-Christ.And is there another male body in painting whose emasculation is so flagrant? The splayed legs and open lap – don’t they become in due course the stock shot of pornography? In the ...

Poor Dear, How She Figures!

Alan Hollinghurst: Forster and His Mother, 3 January 2013

The Journals and Diaries of E.M. Forster Volumes I-III 
edited by Philip Gardner.
Pickering and Chatto, 813 pp., £275, February 2011, 978 1 84893 114 5
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... only other independent initiative is to learn about painting: ‘The lecture in the evening was on Titian. I am rather disappointed in him. He seems coarse & emotional.’ In the dearth of felt reactions to anything that is happening to him, you long for more such judgments, however priggish. At a concert in 1898 he likes ‘above all Tchsaikowski’s ...

Do I like it?

Terry Castle: Outsider Art, 28 July 2011

... After a while the piece starts to look a bit dull and flat and you find yourself turning to Titian or Corot or Andy Warhol or (gulp) Tracey Emin with a certain relief. At this forlorn stage, you may even develop a distinct aversion to the once loved outsider piece: you’ve spent all that money framing it, you’ve made a place for it on the wall and in ...

Veronese’s ‘Allegories of Love’

T.J. Clark: Veronese, 3 April 2014

... into them, male or female, and deploying their weight and balance as if from the inside. Even Titian cannot manage the business in quite the same way. The centre, or anchor, of Veronese’s vision was this: an internal, material, comprehensive inhabiting of bodies, and therefore an ability to depict their glittering outsides as manifestations of their ...

Travels with My Mom

Terry Castle: In Santa Fe, 16 August 2007

... are from 1993-94 – a late period as extraordinary, in its own quiet stone-butch way, as that of Titian, Milton or Yeats. You’d call it a flowering except there aren’t any flowers; just the same old pencil lines and stripes. But the lines and stripes have become positively floral in their glow and poise and breeziness. Most of the pictures are pink and ...
... put Theseus’ sail on the horizon: its movement counterpoints her prone position on the beach. In Titian she is surrounded by male movement, visited by a new male as the old one goes: Dionysus, all motion, swirl and leopards. Woman is good, Ovid says, at hiding desire in stillness and self-veiling. In the Ariadne story, the woman helps the man by tethering ...

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