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“... of sought-after objects for Goering’s collection: ‘What, after all, was the value of a Titian or Tiepolo if one human life could be saved?’ The multiplicity of viewpoints, and the conflicting evidence, generate an uncertainty which is added to by a narrator who is not identified by name, and who may well be Chatwin himself. Although he isn’t ...”

“... to avoid works that were overtly emotional, sensual or even unfamiliar. Thus the mythologies of Titian and Rubens were not mentioned, nor the Mannerist art of Italy and Northern Europe, while even Grünewald was confined to a walk-on part, in a discussion of Holbein, with the comment: ‘Now I suppose everyone would prefer Grünewald’s Isenheim ...”

“... awkwardly colloquial manoeuvrings (‘You ever read the Russian novelists?’ ‘You heard of Titian?’) do nothing except guarantee the sacrifice of credibility on the altar of a pointless intertextuality. Lucy describes herself, at one point, as having ‘an inconveniently busy and sceptical mind’. But this is disingenuous, because the busy-ness of ...”

“... no looker – Samuel Pepys pronounced her ‘very little’ and ‘plain’ – but Van Dyck, like Titian, knew to flatter his paymaster. In Queen Henrietta Maria in Yellow (1636), for which she posed while six months pregnant with Princess Anne, he gives the queen a languorous aspect by painting her from below, exaggerating her height: compare this to Daniël ...”

“... drama but as an exploration of sensuous moments, as if one were to cut a small square out of a Titian and enlarge it as a colour abstract. This approach shaped the wonderful songs that Debussy wrote in the 1880s. By the 1890s he had developed it into a style that nearly transcended the textbook completely, but that functioned on its own terms and not just ...”

“... on three works painted for the Franciscan church of the Frari: Giovanni Bellini’s triptych, Titian’s Assumption of the Virgin and his Pesaro Madonna. An art historian by training, and somewhat less at ease with texts, Professor Goffen is at her best when, following the example of David Rosand, she discusses the relation of the paintings to their ...”

“... not occur to me when, shortly after the exhibition was set up, I was in Venice looking at the late Titian Pieta and thinking how the luminous heavy globules of paint in the background resembled Picasso’s use in this picture of thick white paint to make a blinding light. It was the following day, the moment I saw the Picasso again, that the penny dropped. The ...”

“... of state patronage the Parthenon would not have been built, there would be no Sistine ceiling, Titian would not have been employed by the Venetian state, Henry Moore’s war shelter drawings would not have been made. What we have witnessed in Britain over the past five years – and it really has been that sudden – is not the rise of Post-Modernism but ...”

“... a ‘virtually unpredecented’ sketchiness for an official work of art (Brown does not discuss Titian’s late works at this point, though he does acknowledge the general importance of Titian’s influence). ‘This technique,’ he suggests, ‘appears to be quick and spontaneous,’ but the appearance is ...”

“... instance, pictures of coins slipping between the thighs of Danae in paintings by Titian and Klimt). The art does not reveal its own numismatic character. Only when Shell turns to paper money does he find a curious sub-genre of conceptual art, as in certain works-on-paper by Les Levine and Robert Morris which in effect are, as well as are ...”

“... to an older argument – the one between advocates of Tuscan line and those of Venetian colour. Titian was Bonnard’s favourite painter. Bonnard’s drawings, like Venetian drawings, are scribbled; Picasso’s, like Florentine drawings, are delineations of edges and outlines. Bonnard’s work seduces the viewer into complicity with an illusion which is ...”

“... easily absorb the work of other artists. Rubens was doing the same thing around the same time, and Titian and Raphael had done it earlier. But the persistent sound of gnashing teeth in the records suggests that Bernini had a uniquely poisonous way with collaborators and colleagues. Raphael’s pupils continued to revere him after his death, even as they went ...”

“... at $500 million, which isn’t bad going, given that the thieves left behind paintings by Raphael, Titian, Botticelli and Michelangelo.) Amore describes Dugdale as ‘a groundbreaker in … her genres of criminality. Her involvement in an aerial assault on a police station marked the first attack of its kind.’ More than that, she is ‘the great outlier ...”

“... and Gerbier began to amass an enviable collection of Italian and Dutch artworks (including by Titian, Tintoretto, Bassano and Rubens). John Tradescant was the gardener, sourcing extraordinary curiosities for Buckingham’s delight: an elephant’s head, Pocahontas’s father’s seashell robe.Hughes-Hallett is clear that Buckingham ‘recognised, wanted ...”

“... intentions as an artist but it is not the major obstacle it is when we study Raphael, say, or Titian, or any art which is considered preliminary to one of the great European traditions – Rembrandt has never been considered as preliminary in this way. His imitators never advanced on his achievement. Art which certainly is regarded as preliminary is Greek ...”