Chris,
For me, seeing Dian and Actaeon by Titan ,for the first time, I also
come
away with the feeling that it's a 'clonker' regarless of who painted it.
Compositionally , it is complicated an contrite, though done by a
master.
Every artist no matter how great has it's clonkers. to me, this is one.
Picasso also had clonkers, but how can you beat these guys for
uniqueness ?
I happen to love this clonker.
On Apr 2, 2009, at 7:57 AM, Chris Miller wrote:
Before launching an attack on Titian's late work -- I thought I'd
take another
look on the internet -- and realized that it was only a few pieces
that I
can't stand -- especially those two that were recently in the news:
"Diana and
Actaeon" along with "Diana and Callisto" -- as shown here:
http://news.bbc.co.uk/1/hi/entertainment/7584902.stm
Do I really need to explain how jumbled these are? They should be
cut up to
protect the good areas from the bad.
(and I also can't stand the two statues in the background of his last,
probably unfinished, painting, "Pieta")
Regarding the rest of William's assertions -- I do not agree that
"one who is
deeply informed about that artist and the literature examining him/
her" is
necessarily a better judge of aesthetic quality than anyone else --
although,
I would also not say that "most ordinary judgment is equal to the most
informed"
We just have a different idea as to what qualifies as "most informed".
I've been getting into the culture of Hindustani music a bit,
lately, and in
one memoir, the author wrote of an old man coming up to her and
her teacher
(a famous singer) and recalling a concert he had heard 30 years
earlier, and
then making a thoughtful, and very useful comment. He clearly was
knowledgeable about the art, but he was nothing like a professional
scholar.
Could a non-professional scholar make a good judgment about some
new findings
in microbiology or astrophysics? I don't know - perhaps - but it
seems less
likely, because a good judgment in those fields requires
familiarity with a
large body of evidence and theory -- while the only evidence
required to judge
a painting is presented by
the painting itself, and theory should be irrelevant except as a
way to
explain a judgment that's already been made.
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