By Gilles Neret
FRENCH-GERMAN PAINTER count number BALTHASAR KLOSSOWSKI DE ROLA (1908-2001), referred to as BALTHUS, stunned THE PARISIAN artwork international IN 1934 together with his DREAMY, SENSUAL, NEO-CLASSICAL snap shots OF NYMPHETS AT A TIME whilst SURREALISM AND ABSTRACTION have been DE RIGUEUR. AS A PROVOCATEUR, BALTHUS used to be frequently SCORNED; AS AN ARTIST, HE was once extensively EMBRACED AS A PRODIGY. in keeping with CRITICS OF HIS REALIST kind, BALTHUS stated: "THE genuine ISN'T WHAT you're thinking that you notice. possible BE A REALIST OF the synthetic AND A FIGURATIVE PAINTER OF THE INVISIBLE." HIS EROTIC, POETIC work survive AS EXAMPLES OF the easiest FIGURATIVE paintings OF the fashionable period.
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Extra resources for Balthasar Klossowski de Rola Balthus, 1908-2001: The King of Cats (Taschen Basic Art)
But Titian’s subsequent addition of the column supporting this group 56 Art as Appropriation: The Rise of Titian made this original borrowing more explicit still, as if to make his overall responsibility for the conception appear more absolute. The very deliberate placement of Titian’s St Catherine next to Palma’s Madonna encourages a kind of visual paragone between the two painters that recalls his near-contemporary revision to The Feast of the Gods, although this is now conducted in terms of a contrast of old and new techniques.
And this was a device he had already used in The Andrians, where the nude at the foreground right is both a quotation of and a correction to Bellini’s Lotis in The Feast, the similarity and difference of pose and position actively inviting comparison. The repainting of the Bellini in the Camerino d’Alabastro was to be Titian’s very last contribution to Alfonso’s painting cycle. But its appropriative dimension was broadly in keeping with the more general progress of the commission. What had been planned as a representative display of the contrasting artistic styles of leading masters from across Italy ﬁnally submitted to the predominance of Titian alone, who featured less as an example of the local tradition of Venice than as an independent creator of unprecedented all’antica works of ultra-modernity.
1513. National Gallery, London. 57 The penetrating directness of the gaze, the informality of his pose and the loosely ﬁtting silk shirt, unbuttoned to reveal the white underclothes beneath, suggest the everyday, but do not make the sitter any less elusive. 58 In the years following Giorgione’s premature death in 1510, Titian quickly developed the expressive possibilities of such works. 59 Though their precise identities are typically unknown, many of these sitters must have been young patricians who had not yet taken up their public duties of state and were temporarily free to express themselves through the cultivation of poetic and artistic tastes and fashionably expensive dress.