Little-known Titians, lost Caravaggio canvases, and, at the very end of the room, an unknown fresco by Piero della Francesca.
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No other museum can count 200 Goyas, 90 Rubenses, 40 Titians or most of the surviving work of Velázquez or Bosch.
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The list of Old Masters in "Unfinished" includes five Titians, two Leonardos, and paintings by Jan van Eyck, El Greco, Poussin, Rubens, Rembrandt, and Velázquez.
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There are two black chalk portraits of the imposing Thomas Howard, Earl of Arundel, in whose collection van Dyck saw his first Titians on an early trip to London in 1620.
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In the summer, you visited England with your sister and brother-in-law, admired the Titians and Tintorettos in National Gallery, and walked around Stonehenge and the hills of the Lake District.
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While Jack toiled away in one of those rooms on a Medieval Greek manuscript that embellished on the biblical story of Adam and Eve (one of 13,000 bound manuscripts held by the library), I gazed at the Titians, Veroneses and Tintorettos that adorn the salone's walls and ceiling.
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The only bombshells were on the walls: Leonardos, Titians, Rembrandts and Turners that at first glance looked so strange amid the Breuer's trapezoidal windows and glowering-grid ceiling coffers that they seemed to be parts of a conceptual work devised by a wry contemporary artist — maybe Jeff Koons, who collects old masters and was the subject of the Whitney's send-off to the space in October 2014.
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In such ways the balance of her collection shifted to Italian art.Grate The Riario Palace finally provided a suitable setting for her collection, and the Sala dei Quadri ("Paintings Room") had her finest works, with thirteen Titians and eleven Veroneses, five Raphaels and several Correggios.Watson, 160–161; not all these attributions would hold today. Titian's Venus Anadyomene was among them.
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The 2002 season was the Tennessee Titans' 33rd in the National Football League and 43rd overall. The team improved upon their previous season's output of 7–9, managing 11 victories.2002 Tennessee Titans The Titans qualified for the playoffs, but were unable to reach the Super Bowl, losing to the Oakland Raiders in the AFC Conference Championship. The Titians would not return to the AFC Championship again until 2019.
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The collection included (on the contemporary attributions) 28 Titians, most now regarded as workshop pieces but including several of his finest works,At least one work, The Holy Family with St John the Baptist now in the Sutherland Loan, has moved in the other direction, catalogued from 1727 until the 20th century as by Palma il Vecchio, but now seen as an early Titian. See Brigstocke, 171. For one old list of the Titians in the collection see A. Hume, 1827 12 Raphaels, 16 Guido Renis, 16 Veroneses, 12 Tintorettos, 25 paintings by Annibale Carracci and 7 by Lodovico Caracci, 3 major Correggios plus ten no longer accepted as by him,Reitlinger, 6-7, supplemented by Buchanan Vol I and 3 Caravaggios. Attributions no longer accepted, and probably regarded as dubious even then were 2 Michelangelos, and 3 Leonardos.Watson, 251-3, Buchanan lists There were few works from the 15th century, except for a Giovanni Bellini.
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Much of his early painting may be of landscape backgrounds in Titians. He is mainly remembered for his prints and his drawings, especially of landscapes. In his lifetime he was a successful painter, mostly in Padua (Giulio's home town), where he was mainly based from the early 1520s onwards, until his death there in 1564.ULAN Mostly he painted on walls, including decorative schemes, but portraits and landscapes are also attributed to him.
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It is now agreed that Philip's original version is now in the Wellington Collection, see Falomir video. A later version of Danaë is now shown in the same room in the Prado, with other Titians. Titian explained in a letter to Philip that the two paintings would offer contrasting front and rear views of a nude Venus, thus allowing painting to compete with sculpture.Penny, 284 This apart, contemporary accounts show the powerful effect these paintings had on male viewers.
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In September 1628, Peter Paul Rubens was positioned in Madrid as an emissary from the Infanta Isabella, and Velázquez accompanied him to view the Titians at the Escorial. Rubens, who demonstrated his brilliance as painter and courtier during the seven months of the diplomatic mission, had a high opinion of Velázquez but had no significant influence on his painting. He did, however, galvanize Velázquez's desire to see Italy and the works of the great Italian masters.Ortega y Gasset 1953, p. 37.
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It and two other Titians reattributed at the same time were briefly put on public exhibition there, for the first time, in 2015.Apsley, 10 Until January 2021 it is in an exhibition at the National Gallery, London."Titian: Love, Desire, Death", Until 17 January 2021 The upper part of the painting was cut away in the late 18th century, apparently because it was damaged. This version is known from copies and a print, and included a face of Jupiter in the cloud, and his attribute of an eagle clutching bolts of lightning.
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For Sheila Hale it is "the most sensuous of all Titian's female nudes ... [and] transmits a dark erotic charge that makes all previous reclining nudes ... look innocent by comparison."Hale, 522 It is now shown in the same room in the Prado as their Venus and Adonis and other Titians. The greenish cast of Venus's skin is set against the pale hues of the younger woman. Danaë parts her lips in pleasure, while the gold spills in greater quantity and with more velocity than in the Naples work.
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Gualino and Venturi supported local painters such as Felice Casorati and the Gruppo di Sei (Group of Six), which included Carlo Levi, Francesco Menzio, Jessie Boswell, Gigi Chessa, Enrico Paolucci and Nicola Galante. These artists could view works by Modigliani, considered pornographic at the time, that Gualino "hung serenely amidst his Titians and Botticellis." In 1930 Venturi organized a retrospective exhibition of Modigliani's work in Venice based on the paintings owned by Gualino. Gualino saw the Rationalist work of the architect Giuseppe Pagano in an exhibition in 1928.
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In 1963, George Sutherland-Leveson-Gower, 5th Duke of Sutherland, his distant cousin 'Geordie', died, leaving no immediate male heir. Egerton succeeded to the dukedom, but did not inherit the Sutherland estates or Dunrobin Castle, which went to Elizabeth Janson, Geordie's niece, who became the Countess of Sutherland. Estate duty forced the Duke to sell many pieces from the family's renowned collection of paintings and drawings. The family's wealth had shifted from landholdings to an estimated £120m collection of paintings which included Raphaels, Titians, Tintorettos, Poussins, and a large part of the famous Orléans collection from the Palais Royal in Paris.
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The previous record for a pair of paintings was for two Titians, his Diana and Callisto and Diana and Actaeon, that also hang side by side and are today joinedly owned by the National Gallery and the National Galleries of Scotland. The previous record for a painting purchase at the Rijksmuseum was for A Mayor of Delft and his Daughter by Jan Steen, for which they paid 11.9 million euro's in July 2004. The most expensive Rembrandt portrait sold before these is Portrait of a Foreign Admiral, sold at Christie's in December 2009 for £20 million.
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The largest share of the collection was thus bought in 1798 by the coal-magnate Francis Egerton, 3rd Duke of Bridgewater, including this painting, Titian's Diana and Callisto (from the same mythological series of seven paintings), eight paintings by Poussin, three Raphaels and Rembrandt's Self-Portrait, aged 51. The third Duke of Bridgewater was probably inspired to buy the paintings by his nephew, Earl Gower, the ancestor of the Dukes of Sutherland. Certainly, on Bridgewater's death five years after the purchase, he bequeathed the Titians and the rest of the collection to Gower, who put it on display to the public in his London house – it has been on public display ever since.
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As with other small Titians from the 1510s, the attribution has wavered over the centuries, beginning with Titian in early records, but (almost inevitably) becoming attributed to Giorgione by the 19th century, until Crowe and Cavalcaselle attributed it to il Pordenone. By the end of that century it was once again attributed by most to Titian, which has remained the usual view among experts.Robertson, 219; DP The Norton Simon Museum version was attributed to Titian in sales in England between 1801 and 1859, but a sale in London in 1891 called it a Giorgione.Norton Though a date of about 1515 has long been the usual view, purely on stylistic grounds, Charles Hope has suggested about 1511.
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Whilst playing for England Sevens in the Moscow leg of the same series Preece suffered a serious ACL injury which required reconstructive surgery and ruled him out of adding to his England appearances during 2012. In 2013 Preece joined Championship team Rotherham Titians for 3 seasons making the playoffs 2 years running and was awarded the Vice Presidents player of the year award. In his third and final year he changed position to hooker and made a total of 71 appearances. Preece has made the Championship Dream team at Openside flanker on two occasions, once with Birmingham and Solihull in 2009/10 season and with Rotherham Titans 2014/15 season where he became the clubs seasons leading try score of 15.
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Francesco Guardi, View of the Venetian Lagoon with the Tower of Maghera, 1770s, 21.3 cm (8.3 ″) x 41.3 cm (16.2 ″) The Venetian school had a great influence of subsequent painting, and the history of later Western art has been described as a dialogue between the more intellectual and sculptural/linear approach of the Florentine and Roman traditions, and the more sensual, poetic, and pleasure-seeking of the colourful Venetian school.Gardner, pp. 682–683. Specifically through the presence of Titians in Spain (he was careful to avoid going there in person), the Venetian style influenced later Spanish art, especially in portraits, including that of Velázquez, and through Rubens was more broadly transmitted through the rest of Europe.Martineau, 47-48; Prado Guide, p. 118.
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Penny, 250, 253 There has been considerable debate as to whether it is finished or not, as with other very late Titians, such as the Flaying of Marsyas, which unlike this has a signature, perhaps an indication of completion.Penny, 248-252; Jaffé, 27-28, 59, 151-153, 166, the various authors offering a variety of views. This painting is visible upper-right in Gallery of Archduke Leopold Wilhelm in Brussels (Petworth), 1651 It is a sequel of Titian's work Diana and Actaeon showing the story's tragic conclusion, which approximately follows the Roman poet Ovid's account in the Metamorphoses: after Actaeon surprised the goddess Diana bathing naked in the woods, she transformed him into a stag and he was attacked and killed by his own hounds."The Death of Actaeon".
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However it is a matter of record that Chelgate assisted Shell Oil Company with its Brent Spa and Nigeria (Ken Saro-Wiwa) issues, and Mitsubishi Corporation with environmental issues, including deforestation. The firm also ran a global campaign against Zimbabwe dictator Robert Mugabe ("Save Zimbabwe"), resulting in hardening of international opinion against that regime. It was also visible during the negotiations between the Duke of Sutherland and the National Galleries of Scotland over the £100 million sale of two Titians on loan to the Galleries, with Terence Fane-Saunders acting as spokesman for the Duke. Since 2008 Chelgate has worked with the insurer Hiscox to provide crisis containment and communications support to management liability and other groups of policyholders in any claim or the likelihood of an insured event with a risk to reputation.
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Diana and Actaeon is part of a series of seven famous canvases, the "poesies", depicting mythological scenes from Ovid's Metamorphoses painted for Philip II of Spain (after Maximilian II, Holy Roman Emperor had declined Titian's offer to paint them for him).Brigstocke, 180 and 183-4 The work remained in the Spanish royal collection until 1704, when King Philip V gave it to the French ambassador. It was soon acquired by Philippe II, Duke of Orléans, nephew of Louis XIV, and Regent of France during the minority of Louis XV, for his collection, one of the finest ever assembled. After the French Revolution, the Orleans collection was sold to a Brussels dealer by Louis Philippe II, Duke of Orléans in 1791, two years before he was guillotined.Brigstocke, 11 This dealer then exhibited many pictures from the collection (including the Titians) in London.
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Anyone who was around at the time and concerned with what was called "post-war British art" will remember the painting called "A Family".'John Russell, 'Introduction', Dorothy Walker, Louis le Brocquy (Dublin: Ward River Press 1981; London: Hodder & Stoughton 1982), p. 9. Louis le Brocquy explains: 'I have always been fascinated by the horizontal monumentality of traditional Odalisque painting, the reclining woman depicted voluptuously by one Master after another throughout the history of European art - Titians' Venus of Urbino, Velázquez' Rokeby Venus turning her back on the Spanish Court, Goya's Maja clothed and unclothed, Ingres' Reclining Odalisque in her seraglio and finally the great Olympia of Édouard Manet celebrating his favourite model, Victorine Meurent. My own painting A Family was conceived in 1950 in very different circumstances in face of the atomic threat, social upheaval and refugees of World War II and its aftermath.
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This detail of Mercury shows the earliest known depiction of Chinese porcelain in European painting The painting is signed by an inscription on the fictive paper attached to the wooden tub at the lower right: "joannes bellinus venetus / p MDXIIII" ("Giovanni Bellini of Venice, painted 1514"), and his payment that year is recorded.NGA "Inscription" Based on a narrative by Ovid, it is the earliest of a cycle of paintings, all major works, on mythological subjects produced for Alfonso, I d'Este, the Duke of Ferrara, for his camerino d'alabastro ('chamber of alabaster') in the Castello Estense, Ferrara. The subjects had been chosen by 1511, by the Renaissance humanist Mario Equicola, then working for the Duke's sister Isabella d'Este, and instructions apparently including some sketches were sent to the artists.Colantuono, 237–239; Freedman, 42–48 Later commissions were four large Titians (one now lost), and ten smaller works by Dosso Dossi, probably placed above them.
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Speculation began when the original 31 December deadline passed without definite news and the Scottish Government's announcement of a contribution of £17.5 million in January 2009 triggered a political row, with Ian Davidson questioning the deal at a time of economic hardship. There was also controversy over attempts to dilute the guarantee that the duke would sell no other of the paintings from the Sutherland Loan should the two Titians be bought. However, on 2 February 2009 it was announced that, thanks to the deadline being extended to raise more funds and finalise the payment plan for Diana and Callisto, the £50 million had been raised and Diana and Actaeon would be acquired. The final sum was made up of £12.5 million from the Scottish Government, £7.4 million from public donations, £12.5 million from the National Galleries in London, £10 million from the National Heritage Memorial Fund, £2 million from the Monument Trust, £4.6 million from the National Galleries of Scotland and £1 million was secured from the Art Fund.
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