Title: The Conversations of Titian, Tintoretto, and Veronese

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" Well as you know the exhibition. That is. It's now been mounted at the MFA. Tuition to Toronto very amazing. Rivals and Renaissance Venice. Is not only the largest exhibition of Italian Renaissance paintings in Boston in the last fifty years. But an exhibition that is generated enormous excitement not just here in Boston but literally around the country. The New York Times told its readers that it maybe the last time in a long time. That an exhibition of this power and Disco will be brought to our shores. And the person who has done it is of course our speaker this evening Frederick ill treatment. Educated at Princeton. And Columbia. Athenaeum member Frederic the Truman. -- is the mrs. Russell Baker assistant curator paintings. In the art of Europe department at the Museum of Fine Arts he began his curatorial career at the MFA in 2001. Following five years of living in Venice. With his research supported by a Fulbright. Fellowships and grants from the metropolitan museum. -- by save Venice ink. His specialty is Italian Renaissance painting specifically -- to Raton and his contemporaries. He was part of the curatorial team responsible. For the prod us. To Toronto exhibition in 2007 in Madrid and he was contributor to its catalogue. Please join me in welcoming Frederick Altman as he speaks to us tonight about his exhibition at the end."

" It's a treat for me to be here to be surrounded by things like like most which are art books and friendly yet he needed friends. And I'm gonna talk a bit about recreating the conversations of these street painters as a way of giving context of the exhibition. And I wanted to -- to point out though now that this library of course he's been the forefront of considering how information is stored at its own. Special card catalog system how information is recorded maintained. And it -- I wanna think a bit about how they -- is different from election is different from an exhibition. And one of the points about an exhibition of course and -- remind we have received an email today. Or wanted to know if exhibition at these planets contain either petitions and some or -- is it's decent house of Levi. Now that petition is the smaller the two paintings but it's considerably all of this slight strain and at least that's -- probably about as long as this room and so. II will unfortunately have to respond to that inquiry saying that we were not able to borrow the one. And so an exhibition though is not just about practical. Matters -- touch on that it's also about how you can best bring together. Works of art to make certain points to delight to and trance and also to educate. And in this exhibition. -- wanna make no one went for cleaner though right from the start I was trying to do something different with the show. Which is that we have three artist his intent to rattle and marinades that. And rather than do a single artists exhibition monitor graphic show which is the most typical kind. All focus but no context often feels. Worries that -- the sense that -- developed in a vacuum and with a predecessors who with the influences with a contemporaries who was influenced in turn by these artists -- I slit our spirit lets you out an isolated career. The opposite tack is to show a whole school whole period you know look at. French impressionism 102030 artists that offers -- the context but then the individual contribution is often lost. So searching for middle way between. The focus of them autographed picture though and context of showing a whole school's. Many artists. I hit on this idea of showing the victory because these three are always linked in textbooks Andy guidebook to Venice. Time in the popular imagination tuition children of irony is that often linked but they've never been treated as the exclusive sub subjects of an exhibition. I wanna begin. With this face here this is a self portrait might and to read Hokies about 28 or so and it's easy of course to read too much into a portrait but in this picture I really think we have. So powerful lies indeed as strong personality. And there's a that -- kind of odd letter that's written. By playwright -- note two to Toronto. Just around the time this was painted and the letter was all Reid talks about -- to his creativity and that small of stature is just full of ideas. But the opening line is so great. The playwright writes in the slipped to direct quote just as a single peppercorns permeates gradually overpowered us ten bunches of poppies. -- it goes on to describe so we basically have a small ingredient overpowering much stronger. But stronger -- and that's I think a clue to to address those personalities that. The kind of tension in his eyes of the strong stare at that kind of sense that even that we've interrupted him in his painting now the strong -- of course in the self portrait. Comes from the news of a mirror which is how the only way an artist would take account of his own features. But. To -- personality I think really runs through this lecture just as it runs through. The exhibition in part because the stories about to -- Some of the most interesting and audacious. And it took some of the best they hold atop Renaissance."

" Now the exhibition begins. Really the moment just after 1500 where this but this momentous shift from painting on wood panel to paint on campus and -- canvas painting goes way back. The prestige. Commission the kind of thing that was routinely done -- panel. Up through the first years of the sixteenth century Venice and much later almost the end of the sixties -- In other parts of Italy to influence wrong they like the Chinese surface before by wooden panel. But the consistent marriage of oil painting and -- happens and that's right after 1500 petition is really hear all of that full or. And this picture is the first thing you see an exhibition extremely beautiful painting. Overall very good condition. Uses. Donor here that's the man that the client to paint the picture. He's being escorted towards the virgin child by at Dominican friar maybe saint -- himself. If I partition that would have made the -- much more handsome than the person paid for the picture. And there's there's a Saint Catherine here who looked intently at them. She may be a relative it's quite likely that this. The donor here that -- the client had -- eligible wife or daughter mother named captain. Very common that and just the wealth of draperies so beautiful. But this was a picture for private client quite obviously for the presence of the donor. And to shoot it down to every few paintings. Republic settings in 1513 when he painted this. I exported 1488. And he came of age really with the pupil Bellini around the period 15056. Something like that. And what's striking is he makes a petition. To the -- that elected ruler of this in 1513 the same here he did this and had to be pretty confident because his access. Although I have been in the past. The guys he's young already. And -- also am now urgently requested by both his holiness Apollo and by other rulers to go and serve them that is to be at court painter. Yet desiring as a faithful servant of your most sublime. Meaning that those I am to leave I would I wished at least some memorial in this famous city. I have -- decided if it meets with your approval to take on the task of coming to paint in the -- of the great counsel. So -- basically the petition with -- himself to this incredibly prestigious commission. Claiming that he had very good offers elsewhere but really as a sign of his love. Four Venice and for his devotion. And respect for the -- he would -- to do this and this is amazing because. This shows an -- so confident and in the exhibition we pair this with a PD by Bellini the kind of thing yeah petition would have done just a few years before this I'll get to that moment but I think it's striking right at this moment -- Test coming out on the scene he's really in the first only five or six years as independent -- he is a ready so confident both from the way he handles the paint. -- and textures of skin landscape. You can tell effect the the still life of herbs are so good so precise. You can see that's Italian parsley basal mean really really tightly and but at the same time he didn't lose the hold the details that. You have to -- and composition so painted confidently speaking confidently. Now this is about to conceive of gigantic great council hall invest. Two issues -- when he eventually painted plus a lineup of great painters something akin to the Sistine Chapel. That was disparaging -- legally and Giovanni Bellini 22 -- earnings report known issues and so on. All destroyed -- the -- 157 except. So we have lots of other partitions and some of the finest -- come to Boston for the exhibition. But we do not have a surviving example all the painting that eventually satisfied that post. That exhibition here. As I said before its three artists. Only time this has been done before Michelle as as there always discussed together often the subject of guidebooks or lectures but the but there's never gonna show never. These this is relatively simple. It's all the petition. Was born thirty is reported to -- and although it's 140 before marinades that to the younger two are basically a different generation."

" Although they our board so many as a part because -- is a very long life he lives in paint right to the -- the eighties. These -- artists overlap for -- four decades of pain to advance this very stable situation. Unlike other great moments -- ordered to artists come head to head doing. Opposing commissions and then as soon after leave that city these artists basically stating that their entire careers and that's very exciting very stable really. -- count each other the influence doesn't just go from the older one petition to the under what goes back and forth particularly as the older artist petition re calibrate his art. In response to these pages so very exciting scene but a very stable one. I think part of the reason for this -- last so long is that each of these artists understood. That the competition and Venice. The rivalry indeed and it affected. What's one thing that kept them on their -- something that if it were to dissipate would indeed needed to spend all their arts. Of the final point I wanna make -- Which is it justice shamelessly is that we have a very long run here in Boston. All the way to labels August 16 that's that's four more months and typically old master shows are only three months but our partner the loop. They agreed to sign on to be that second venue in the show. Pretty late when I had a ready we've made much of our plans but as you might gather and nothing happens in France in August. So we were able to run the show much longer in Boston. -- if you have hard to please out of town friends the type of people who think that alternate backward and point well. That this be good -- to invite them to."

" One well. Clearly not just to direct or -- as if I'm showing the slide because certain. They're fortuitous aspects things of course it could not counted on. Did not know at all that in the fall of 2006 the director of fine arts Malcolm Rogers would approach. The Italian government and say we have a group of thirteen on provenance antiquities that these are. Things probably. Dug out in. Southern southern Italy or Sicily. Maybe in -- sixties and seventies not to admit fault is that these are necessarily. Illegally exported illegally excavated but rather. If we were offered them now we went -- acquired them. Does that standards indeed had been changed. And this was incredibly lucky for my case and for my purposes because. After this agreement the Italian government was very pleased to announce the new era of corporation. Between Italian government and in some fine arts. And my exhibition room just to -- just happened to be the next speak Italian initiative. That could benefit from this. And though this has that been culture minister Francesco Rutelli unveiling -- 80. It Phoenix that you -- apiece as the long term loan to them effects that the other not literally concrete but don't marble example of this collaboration. Now. Exhibition begins with a map and I just wanna show the and also announces the color scheme that I think it's fairly successful. This is an experiment I had you don't typically see this but. All petition commissions on this map aren't gold. These are public commission's mind you these are -- monasteries churches government buildings at school for punt -- it's kind of like religious clubs the public. And the people and the petition is gold to read -- blue there -- it's green and which repeat that. On the labels for the exhibitions when in the gallery and see the gold -- op from a distance that must be petition. Reported this map just showing the public missions we've also petitioned studio here to drivers up here and fairness is here. And to show just how prolific these artists work in their own city. And that sometimes the painting Barack supporter from each other sometimes the same building sometimes all three of them are painting in the same building an idea I wanted to convey is that these artists. All over the map they really want it decorate the walls of this city and devoted their careers to doing so. And it look at the number of dots particularly the number of green and blue dots. Well to to -- marinades that you feel a bit. Like a graffiti artist -- May be Shepard fairy someone trying to put things everywhere. -- also remind you of these artists have stood the test of time and I would be a little surprise that there's a Shepard fairy retrospective and 400 years."

" The point I wanted to make about this though is that. These artists will always conscious of each other's work that was -- and all the biographers. Of these painters petition to remember is that talk about. How they remote about motivated rivalry or feeling injustice or. An opportunity to really put themselves. -- on the map in -- in in Venice or elsewhere that there was a real sense. That yes wanted to paint because your career which also want to think for glory and this is so important. Yes he wanted to impress potential patrons. Most important audience the most important jury alt of art would be the painters. One of the most fascinating figures great -- history literature is patron Tina who well comes wreck so that's that's what it at a team knows this kind of nicknamed. And he comes up out from Rome to Venice after the -- of Roman 1527. -- the baddest and immediately becomes very well connected. He has a number of kind of parallel careers he makes money as a black mailer as a writer as a critic. Also with a pornographer. Extremely. Constant person and this fantastic portrait the but lots of PT. You see. Imposing large figure this is tuition support there team the two of them -- very close friends. And this picture unfortunately was not permitted to come to an exhibition. And I had to. Acknowledge that and admit that the curators -- that this pictures traveled so much. Every single exhibition the past spheres to read please leave it on the wall in Italy just a little while and so we were able to borrow another beautiful tuition but that's another question. Even when an exhibition. As a reason for something. And paintings deemed sufficient. Stability that is could put travel could be moved to another exhibition you'll have to think about the reasons own program its display. And so every -- though here. As -- impetus -- the kind of pivotal figure. He was the number one cheerleader. Mortician he's the first figure and literature to -- published collections of his letters. Printed letters -- as private letters. Were thought to be so -- and so. Interest being and opinionated the people wanted to read them. Lot of those letters are about art and he writes whole slew of very strong ones praising. Presentation. And I want to show you. Couldn't reach you for a moment a letter to petition their -- writes 1544. And this is the kind of classic it's like an -- process which is -- kind of rhetorical description of -- work of art. And in this letter Eric you know rights. These are looking from governments to back a second he's looking from his. Cortina was -- there is looking from his window pump. Over the grand canal. This is quote tradition imagine the."

" No wonder I felt the sight of those great clouds partly in the foreground low and on the roofs of the houses. Partly in the middle distance I was astonished at such variety. Those closest we're pleased with the fire of the sun. Although it's further off load with the more subdued red led. Pigment -- Oh with what beautiful strokes of nature's brush was that mr. pushed back clearing it away from the palaces justice -- does in painting landscapes. Nature created the effects of distance and modeling so that I know that your brush is filled with the very spirited nature. Cried out three or four times. Oh -- why are you not here. It's a beautiful letter and it just shows that that so that -- was so important to. Eric TiVo that even song. The natural -- phenomenon like a sunset. Port city light through the eyes a petition. And what's striking though is that kind of description of sunset at boats in -- groups in houses. Doesn't look like any condition was painting the spirit looks a lot more -- now archaic art. Someone like cut podshow. This is the miracle the Rialto bridge down around 1500. Don't candidates but very much an earlier style full of anecdotal the -- And so it's almost as if every team that was describing a kind of -- petition would do but had not yet taken up. And of course that. Very perceptive in handling all clouds at the -- sunset only constitution. About -- fifteen years later in pictures like. --"

" The important point here is how Eric Tino and tissue knew each other very very closely. Really author and expert each other spartans took his art. And also how Tarantino was kind of mouthpiece petition in the one. Clearly that letter was -- petition but it was particularly good advertisements even describing this as a kind of painting petition had not yet achieved."

" But Tarantino. Was -- the scene is an obvious person could promote. The -- to Toronto and there witness this. Self portrait again by into -- painting the Philadelphia Museum of Art. I want to show a picture that. To to read it does just a couple years earlier this is about 1547. About 1545. He paints this picture here. Now the -- with athenaeum in Hartford. And Tarantino's letter very effusive again says quote this -- letter to to Toronto also published in one of these collections. All connoisseurs agree that the two fables are beautiful lively and effortless. D.'s you so young have painted to my satisfaction and indeed everyone else's for the ceiling at my house. In less time -- might have been devoted to the beer consideration. Of the subjects. Often one finds that haste and imperfection go together so that it is a special pleasure to find speed in XQ should. Accompanied by excellence. So strong praise indeed this was done for -- this and other."

" Painting. -- the mythological subjects does not survive this one the contest between Apollo -- does survive. We would know this is -- ceiling paintings. Even if we didn't have that latter. Rectangular -- dorm walls -- like usual shapes. Like -- to -- the capsule. Were elliptical or round those paintings go on ceilings. Band. Quite proud in the exhibition. But we've actually made a special frank fort and covered up the corners this is photograph taken just a couple days ago looking straight I'll. We mounted back on the ceiling is so much I think of the things impact it's. Two replicated in originally intended position. This picture I've never been happy with it's quite early but it threat but it looks a little sloppy and lose. Part of that is if you get too close to kind of give itself away if it's up on the ceiling you cannot get very close indeed it had issues brings the focus. Also like hovering in the corners this wasn't very simple thing but made a huge difference. Because these gentle curves like O Paulo's -- hear -- personal audience the figures the -- that he holds for this contest. All these things reinforced the composition of the -- Now from what we know that to direct. He was a very engaged and beauty lies marketer of great business entrepreneurial the in many cases would agree to. Deadlines that he knew we couldn't meet the cop the commission. He would -- away. Discounts -- if things -- free also painted discount so he was interested in the loss leader of the kind of thing that we've been viewed him. Kristi -- opportunity or ideally future commissions. And the speech was probably best known for free and in fact I think that might have an adequate for quote that is. To to -- paints this picture if Eric Tino -- out and so part of the conversation of course art it's all these people would have been talking. About. -- into -- just got two issues best supporter. It's quite something and that's the kind of sense that that that and to read out. Was it not ruthless variable basis didn't mind upsetting the leading Internet who was thirty years of senior. But I can be sure. We can't always read into people's thoughts particularly something that happens 500 years ago. But it sure. Petition was not pleased to go into his buddy Eric in his house see that on the ceiling nor to hear about this and even less what to read about it published letter praising this picture. Part of an exhibition of course asked to leave out things that are far too large to move. And somebody even a bit of context this is all explained catalogue. But this kind of painting which talks have been about the rivalry between two nation and to read really shows the types of conversations before art. This has to do it as breakthrough comes about three years after the ceiling painting about a year after the self portrait it's called the miracle slave. That's the -- right there who head it's part of the set off paintings done. For the swollen and these are beat up return. This cooperatives that mark. Basically this is you have to imagine or religious version of the rotary well. These are men that got together they have nice lunches that you a lot of charity work and built a beautiful buildings which -- decorated with paintings by top artists including two to read it. Who's given the -- not. This -- to have to go between two windows that could be -- Hart took to read until he comes up various wrong. Composition full silhouetted figures easy to read even in low light. And the story is that's part of the cycle of -- you -- your hosting market -- that mark was -- He perform miracles for people that had faith in him. And -- it was -- slave who leaves troubles and goes to Alexandria Egypt where they kept to the cat home basically well since mark was. To worship it marked -- kept secret Christian when he comes back system. Pagan times the king experience and says that you want it wallet that you. That you wish being Christian got we are. Going to attack lines you with stakes. The states to work -- guys -- We're gonna break your -- to -- and there's this tremendous kind of left to right as if people will hear open astonishment. It's of the broken now film. To the bewildered. -- throws his arms out. Very lively picture. And this picture is part of what I consider the dialogue that great dialogues. Art with a great topics which is really. The two between -- holes let's say of sixteenth century art that was Michelangelo. And tension. Each of them being the standard there for their school Michelangelo for the morning team and fourteen Roman and -- fourth Venetian. It is said that young children it was recently apprentice intentions works. It be a matter of days just about five or six so the story goes win. Tissue salts and drawings made by its. So teenagers now and thought that this artist like some days plant. It was so threatened by steel in these youthful brought. Him. -- and out of the studio. And for young children had to so now that's possible even you know every artist would have had some proper training. But what's striking is that all the -- to read -- studio we're told. He inscribed the motto. He does and -- Kudlow and company took out. Which can translate that's the craftsmanship of Michelangelo and coloring petition. That's what people think that's sensible way actually write the model walls but the motto on the -- up. What's striking is that this picture seems to be -- very effective synthesis off. Michelangelo strongly forcefully bodies real sense of anatomy. Very -- figures. And also so the dress and ship them Michelangelo thoroughly understanding the figure three dimensions be represented them on tour. The two dimensional -- canvas. And then compare that. Wit the very lively -- worked very -- painted beautifully. Shiny -- here chain mail here -- that he's like paint on. -- the figures just to -- it really vary paint surface of combination of Michelangelo. Petition but it was -- well what that. One thing that he was. Making that -- references to intentions. The -- petition on the map and it's a sequence of -- pieces particularly if some with the assumption of the virgin Mary. Done for the church for our. -- this slide occupancy. How brightly calibrated it's -- it's -- upper section this is the virgin Mary sue brought all taken up two got applause after her death. And upper sections beautifully match upper story windows here the lower section of the apostles beautifully matched that this fact is. Paintings -- in an enormous space but. Kind of apps. Respiratory of this huge. Gothic church. And in fact issued wrote to this challenge by making it paint and that the largest painted wooden world. And if you look at the competition just for a second wanna make clear just how beautifully coordinated is heavenly realm here alt. Which is just like the circle circle has no beginning and it's defined and virgin -- at the center of the circle and her body. In fact the radius. Circle there's another shape which is a rectangle the bottom which is -- stopped apostles very stable. Earth like its ground. These two shapes the earthly and the heavenly are joined by hardship which is that and it's -- triangle. -- Very beautiful which means geometrically -- the virgin Mary's head is not just the Senate circle but it's also packs -- Accomplices. Full of energy but also in the can be read this it's also can be -- with these difficult lighting this is something to Toronto learned from. But also note that this figure -- directly quoted. Just in reverse the man of the two to -- painting holding the broken now but he's quoting petition right here. See that."

" That is according tuitions -- some time. Of exactly. Thirty years earlier. Also he's quoting generally barred from Rafael this is a missed the tapestry that part to the full scale drawing to survive but the conversion Paul. But that cartoon was in fact in Venice by the ramadi families to direct us time and forces the figures the way to relate. This -- group gathered looking down is showing. To Toronto. -- or adapted from Rafael. And going back first these figures are on the -- figured bath of course those are based on the Medici tunes by Michelangelo in the news actually assembled and so and indeed even to figure out pop. The king astonished is that development. -- of that the figures of the -- to be right there. And that is. Various times of the day the figure at the hands on the -- go back to that. It's the kind of hand resting lightly on the way the body in profile leaning against this directly quoting. From -- sculptures. Very close. And and finally the architectural setting up the whole thing is inspired by a sense of you know who's the great architect who was attached to slow job. Onto the front of the camp -- the bell tower saint marks and the -- columns. Yet there are have been adapted right here to to introduce."

" Pushing them lots and lots of bucks and is making something very clear is announcing to everybody. Not just that he understands Michelangelo. Tuition Rafael sense -- the you know but he's telling the world that he belongs in their company. This is a very bold thing and this painting here is really I think the illustration of that motto the craftsmanship of Michelangelo and the coloring a petition. Now after pinning a successful is that you might think that to to read -- about would be able to coast for awhile. This is Venice it's very competitive. And soon after that. 15513. Years later there and as it shows up and because becomes. You know comes from brought up. The youngest of three and he is seen it from as I read it he's seen by petition as a potential protege. Even up on. Someone that -- could use to block to direct help keep this pesky artist that day. And there's a commission 1550 set to paint. The library that it move to cut -- marks which is. Beautiful building designed a sense of you know face -- those palace right on saint mark's square. And it's been sent to be it was also close to -- and close attention part of that circle keeping these younger artists out. And they go to assign it circular painting is -- can't just be placed in the ceiling of the reading room of this library. And -- ASA is included. To -- it's not he's not given the commission. And in fact no kind in the bottom of the barrel in signing. Three rumbles each to relatively minor painters in to Toronto who would just made such a big splash. Is excluded. This is very interesting this. -- to the petition and sense of -- do it. And Daryn is -- in fact for his contribution but awarded a prize eight gold chain -- really heavy gold chain. Who's awarding it well tension and Tanzania so this would have been. Added insult to address excluded from the commission. Not given an opportunity and the new upstart this new threat Darren Hayes was given the price. And I think that the final stage in this is that -- to read later his career is able to do several figures here large ones of -- philosophers. Between the windows and into -- biography that was written. About fifty years after his death the biography says in fact. We had these commissions -- philosophers to to -- it was vindicated. Making clear that his earlier exclusion was the very point it's not."

" The most famous story. Of sixteenth century Venetian painting let's say the most audacious one centers about -- pulled a gun -- its general -- which is another one of these religious opportunities. And there was competition in the spring of 1564. And therefore painters who were kind of a short list who were invited to a ceiling painted for the board room. Which the smaller room where the ruling committee for this opportunity would be. And before painters war to Toronto was the only local there was Batiste. -- to Sylvia to. All of -- and -- equity so it's for painters to threaten the second oldest ads -- the -- oldest. And the only local well I think the pressure really what's on. And the group artists were supposed to bring preparatory drawings kind of -- doubt something they would show the committee. And say here's I'm gonna paint this picture of the subject is science subject was sent Chelsea broke up with it assumption broke open to heaven broke present it to god. Could you could imagine today. The competition where the artists -- with their drawings in the portfolio or maybe ruled out on their arm to read it doesn't happen drawing. The other three artists get worried. That are it was a good over he goes first at this drawn survives in the British museum and you can you can imagine saying one -- right here -- pilgrims -- its staff. Beautiful little -- bring him -- Towards. Up towards god very beautiful effects of light. Again this is an oval -- elliptical painting typical ceiling form. And and the girl was actually a artist works most of screw in Rome. He makes a concession to Venetian practice by using blue paper. So Venetian artist really like could you could immediately -- paint or draw both with white media and black media. Then there anything goes in this drawing. This is this is either the competition entry port they -- very good workshop copy of that competition entry. Located just here in town. At Isabella Stewart Gardner Museum in -- and answers as well enough got a much more exciting idea all these figures scenes wet we'll beautiful heavenly light coming through. And -- is being actively brought up. Towards god by -- very devout angels he's accepting. Moves up to heaven and very beautiful thing. And that's like -- this look like. When it comes time to -- at issue is strong again he has been -- doesn't a lot of drawing to it removes a large piece of cardboard on the ceiling to show. Finished painting installed in its intended position."

" And -- right -- pat someone on the inside. Someone had given him the dimensions may be key -- and -- and it with just enough time to get -- dot. The other artists are furious understandably to divide us as well. This is my way of making drawings Washington judge abroad which would characterize the final painting. That tennis at the top and it turns to the ruling committee and the -- called of the of the school look at some Rocco and says wolf here's my picture of saint rope pulling up to god in heaven. And you should note that I'd make this gift to you as a sign of my deep devotion to see growth. And he read the bylaws to to read on new. That every donation to this organization no matter how large or small must be accepted."

" Did you read also knew something about committee mentality. How nice it would have been those -- you who have served on committees. And you're there -- committee for several -- 1564. To have your painting done and paid for just like that. And that's and particularly that we gets its foot in the door with this -- and goes on over the next 44 years to. Decorate the entire building enormous building. With some fifty paintings on the walls and ceilings this is the main room the great council. Meeting room on upper floor. The board room where he -- this picture in and -- devious means with the competition is just the right over here."

" That exhibition. Of course can't bring these large paintings. But we have by way of compensation. The opportunity to explore the triumph of the new format that is oil on canvas -- picture. So the first picture chronologically is this one here. Done by believe me and his workshop and -- workshop because although it looks very much -- you Bobby Bellini and assigned right here. There is not a lot coordination among thinks you'll see -- Catherine here -- upscale saint Peter here's kind of walking out of the picture. The virgin is oddly seated either knees while the others are outstanding. Clearly these figures have been excerpted out of other paintings. This is an exhibition because this is exactly the kind of painting the competition would have done as a pupil in believe these studio. And nothing to paint this but this represents a starting point the kind of half he would have been assigned and he would have hat. To really meet this challenge this is a great paradox if art is all about self expression how do you express yourself would you can't be yourself. When your tissue or some other apprentice and you still have to be -- you have to sift through your own style into that that's for the workshop in order that this painting. Could leave. The workshop. We have a signature and be convinced. So we start with his picture. And the saints of course would have been chosen almost certainly. Petered. Catherine -- John the Baptist because they represented the names of the family members who commissioned this picture of your -- it's in there. And then we moved to that that's in explaining. First pictures on wooden panel very hard taught Chinese surface this is on canvas of the things. Warm comfortable coherence. A little more loosely paint it really -- and atmosphere. The Prius pictured the Bellini the figure's arm jostled for space that they relate to each other. Now we've got this beautiful network of -- and a sense of the painting that is so confident -- details and its whole."

" I think the preps most impressive room in the exhibition the -- the exhibition. And thank you can see. It's a little bit of daylight as well set up a bit like a church in on this side you can see we have kind of alters with the paintings on -- and this would represent the kind of high altar with a giant into right there just restored in time for the exhibition by saint -- We've got this group here. Of the supper at the yes that's one of the moments in the show we can see all three artists and that we don't -- texts about this -- very much function this text each artist showing no doubt. Here's how he should do that story. The suffered -- Mets became my stand in for the last supper that these large subjects -- house. -- the marriage -- the -- at the last supper giant paintings specialties all three pages these pictures to -- I suppose if I had put all my chips borrowing from Venice I could have borrowed one to -- last supper. -- would be very useful because there and Israel -- or even larger. Too large to get on an airplane and certainly. Even to be to get out the door of the building which their house that is they were rolled up on campus. And brought in and only to get it out again would be to roll again but the suffered a -- comes from the gospel of Luke and this was my compact version of the last supper. In the story you have. -- disciples after the crucifixion and there are very disappointed and sad about the death of Christ they're walking to the village of romance and suddenly a stranger appears. Next to them and they asked that by that stranger to walk with them when they get to the village they -- in Industrie address that he can -- them of course they welcome. -- to table at which point justice stranger takes. A piece of bread. Let's as it breaks it to."

" And suddenly the two Parcells realized the stranger than -- was Christ along. So -- the last opera another moment of revelation and the first enacting all of the ritual of the eucharist. Petition stating we see it buried strong rip horizontal and vertical. Actually beautiful details faced very -- modeling. -- green is itself part of a dialogue tissue versus Leonardo Da Vinci that figures quoting from land artist last supper fresco in Milan. But overall the impression is reverence and hall harmony real -- not sensitive. And -- still like Beatles just remarkable is the lettuce leaf they had it looks like you could find that -- whole foods so beautiful. That is spread -- vessels light reflecting in the vessels. Peddles flower petals on the table cloth and most astonishing the tablecloth itself which is collegiate start -- Unfolded. And up close."

" Have to go to the exhibition deceit is there's the most amazing diamond pattern petition laboriously painted as if it's -- eve of the campus. That's an amazing amazing veto. If you'd have to -- you can't compete with that ten years later what does he do -- the -- to direct. He makes the table -- flips up the top replaces all the horizontal and vertical stable greeted partition. With its strong nationals the bodies are not so calmly place but now twisting out of control as they leaned back. Ask for confirmation is that ready Christ but we know I believe I think it's fair to say. To to -- is invoking petition he's making this. Comparison very specifically because you crisis the sender. With a hand up. Pointing up you've got the column the patch of blue sky the clouds he's giving us enough clues. That to -- Hussein what tissue business all -- good but we're talking about it great revelation miracle. Past few more energy on that issue you energy."

" The last word -- on the subject comes from there and it's much later thirty years later -- tenure gap between these two about thirty years before that at the very it is a relatively late in his career it's a small picture. Of this subject where he affects a beautiful synthesis. You have the strong writ of petition but with energy to direct ways to do -- energy -- critical everything flying out. In baron as -- the opposite trip -- all energy convergence in on the blessings and Christ. You have details like the obvious similarity between the two in keepers. The -- green they'll figure green here figures green here for the astonished possible. All looking at each other anticipating each artist looking each other but again price -- the middle with a column directly behind. Patch of loose little bit of cloud. Prominent tablecloth. In this case. Baron is a signal and I'll do it this way. Combine the best this best of this plots. And get my characteristic. Trademark pastel palette. With the lemon yellow Robinson loosen things. And the kind of sentimental touches the -- and just understand this little girl here with her dog and I I think this meeting is very much. Part of that team out there and basic. Late this we're getting an opportunity and really. Synthesizing these other types of pictures."

" And another picture allows us to talk just for minute. About another important idea the Pentagon today in sixteenth century Italy the Patagonia is the rhetorical. Debate let's say particularly between Europe sculpture of the superiority paint. Sculptors to sculptures really there it's true you can touch even a blind man could -- sculpture painting by contrast told us that it's flat. And we walker and a sculpture you statute you can see it from multiple angles you walk right painting pops up the back of the painting -- nothing there. And the painters had their own kind of thing Leonardo was both a sculptor and painter participated in this debate and he says well. There's also kind of to core tax status sculptors working with a probably a lot of noise they can't talk to cover themselves -- marble chips so much so it looked like the baker. Right Stoller -- a painter to wear fancy clothes can talk. Walking -- Even enjoy this from the pollute so there's so that that there's some serious reasons -- not serious ones. But George Jones was a fellow people believe me for a close friend dictation apparently made around 1500. Painting it's totally shut up once and for all the sculptors. He made a picture of Saint George that's his namesake George don't beat George mixes of Saint George taking office are. Who. Has. Two mirrors and a pool of water reflecting about it it's different -- this is an ingenious things using -- to reflect. In a painting you can see all sides at once spoke for -- the walk around the steel sides this could see and appreciate instantly. Very bold idea that apparently all the -- doesn't survive its well described by several tax and presumably existed. To -- this picture here is very much part of that. He's -- figure armor and in that. It's an amazing details of the princess the princess has been saved from the dragon by George. There's in saint George's attuned to read what she sees herself in the armor -- two sides are faced this -- to direct. Really pushing buttons though the idea here of the princess righted dragon was singled out -- this patent was named. In a dial -- just a few years after painting it's not really seemly for this princess to be riding the kind of suggest a way this animal. And it's up to enter it I think realize that. Cutting edge art could be controversial. There NASA gets his say this is an update on the left to to read what's four. Treasury building next the real to bridge this rather. On the right and Aaron is that for eight. Or for the -- shudders of the church it's curious that has a rounded top -- this tile art. He is not that common for organ -- I believe it's a deliberate. Citation of the rounded top. Up to to read those painting a virtuous -- this is a safe -- and then as a kind of obscure. Early -- but also -- toward her and she would -- if it does is he is a much more. Generalized loosely painted our softly into let's say reflections -- in a way that's -- kind of problem here right. If the princess concede a reflection armor. That we review board should be able to see our. Reflections in the arm but of course insist it's not life. That's I think what's there and it's it's doing notice as well as a great what you're missing projecting from the niche here. But. Album comes right out towards space but nothing extends past the edges of the field. To do letters full of things -- properly edges. And I think there and is it may have realized their limits to my -- limits to pollution in the paint. The -- of the mythological news the -- I think of as the bedroom of Venus. Favorite one we actually made real curtains to go in the room just as they near the ones. In the paintings and also because I want this room to really feel into it is different as possible from that great. -- church space. Although we had. Long exposure on this but this it was quite darkly -- it's dramatic I lowered the paintings the lower than the other rooms are really want this -- feel. There's special. Seductive. And the picture that's probably the most important -- whole show he's the guy by petition. I'll give you three quick anecdote about this. First this was painted for cardinal Alessandra -- is that and a -- it was still being painted in Venice before taking down to -- A letter is written by far the cardinals agent that says this painting. That petitions making view is so sexy. It's gonna make the previous station painting reclining -- that is the Venus ever -- had not in comparison. There's that that's. And that's the -- Rubino and you can see you know this is I don't wanna be too specific here. But what's happening is that Jupiter as the king of the god is coming to. That I was been locked in a tower and he comes through in the form of -- cloud of gold. She spreads her legs -- and -- shadow here she. Soft body against the salt sheets. Her face it's Fleischer as she. Anticipates the arrival of the and there's there's something about being utterly consumed in the moment where as the in his Rubino. About fourteen years earlier are sort sixers are there is a bit more calculating kind catching us off guard. This -- also was a specific rebuttal to Michelangelo. And painted not to lose the -- after or rather on sexy. -- lead out by Michelangelo and that reminds us that. The petition was actually taken the world and seen by the collapse. Michelangelo apparently he as he tells bizarre it later. It marked the pictures that it was charming in its coloring very naturalistic but it's a pity that Venetian painters never learned how to draw. And by that by that Michelangelo's holding up the ideologue craftsmanship. And noting for example he would have recognized immediately that the left leg down fine it's far too long. But I think with paintings like this make land -- actually no credibility as a painter. Up erotic subject petition doesn't mind really bending anatomy. Making changes here and there in order to effect a much rancher and erotic sentiment all of that textures and just beautiful both. -- is a beautiful line the shadow like faith and love this detail here it's quilted. Sat bedspread. That little people get to speak often moves away and just it's just -- really pinning all about the sense of touch. And that also sets up. One of the great debates not -- any sculptor but between these two ideals and it alluded to that earlier but between disease and you craftsmanship of Florentine -- or intellectual. Figure out scrap of paper the real world. Encapsulated kind of platonic ideal put down on the surface of paper. Where's caller we took hollering at the processors and warm pats the -- abandoning con -- really but to suggest that real world. We have patches of color and that's the difference between Florentine in the nation approaches. In the same room. This brings -- third anecdote we have a picture -- Venus and Adonis and tuition paid several versions of these pictures. He paints one and after ping this famous downside for the -- it's another one for king Philip the second Spain the most prestigious client. In the world and he says pick and then after pinning that down like he's beginning another one and that he writes a letter to fill up and the conversation goes like this. Because I've already painted for your highness a picture of the nude scene from the front that's -- right. I am now painted a picture of the new team from the back so when that tool of them are placed in the same room they will be all the more visually appealing. And that's. Letter -- showing extreme competence is announcing to the most important client in the world subject matter. The delivery schedule and intended position and it great fun thing in this exhibition is that. See the new team from the front of the back. Which is of course. Thinking about art not just individual pieces but parts of larger holes cycles and also of course part of this ongoing discussion about painting versus sculpture. -- within this Venus cannot persuade Adonis -- cannot restrain we compare that with the parent is ahead of love restraining this is. Morris got a court Venus united by love little Cuban ties that -- together and of course martz can't at all. Fight if he's been tied down by law so that we which today. Women in nearest again reflections are so important not just. Water canals mosaics. Shining armor but also mirrors that's the center near making. Here we have Venus by tissue in her bedroom it Meyer herself in premiere she notices than us through the mean you're able catches us and she realized she's being observed. She -- sell well but I don't think she's deeply bothered I think she welcomes the attention. Darren is safe sets for himself a challenge just partition it set for himself. This post I admit it's a little all court -- probably no way you could. Hold your body like that but. It's a -- whose ambition we need to acknowledge the disparity is they hear it has. Done one better -- partition -- of the new from the front I didn't something much more extreme even problem rival and sculpture that was so the new from the back. The -- and Americans back and it's beautiful and I asked her here and the very. Close attention to linens and particularly -- here against your skin directly provoking challenging position. To -- a third of this group of beautiful woman in mirrors this this is -- and elders -- different I cannot be different subject matter but this one it's just the opposite of the other two women. Beautiful women are confident their beauty and seemed to welcome. The attention of that you were port Susanna was at her -- finished her hair putting on her jewelry looks to the mirrors another reflection right here. In her back. She doesn't see the elders come torture nor does she noticed that we are looking at. She's totally oblivious and therefore perhaps all the more people. So these are the three women and beautiful and mirrors. Looking that's. -- should look through curtain through the -- to -- room to the last room latest styles. I wanna just Paulus and remind you that every. Aesthetic decision -- needed somebody. Sometimes you get the right sometimes less right but there are a lot of decisions that go into it and a lot of fun ones in the months leading up to an exhibition. Basically playing doll house is that giant. Scale model of the gun to galleries at in fact. That's a president mask trying to remove walls around we changed the based sports experiment with collars and do the colors we don't we start of course like anybody painting your kitchen with little. Color chips but then we -- on large pieces for about four feet five by five feet four or who can really get a good idea the colors we can even bring up paintings into the gallery and hold up their different lighting conditions. This is the product vision 2007 I think if you view in this room who went there was part of that. Exhibition. And it's it was to dread over the first property to read don't wanna graphic show in seven years. -- pictures now. In the Boston exhibition but seeing this in the central spine of the product where they normally keep very large format Spanish baroque paintings repair that's better. Lost Munis is right behind me. In -- ally of great the last instant to temperate. But I remember seeing this. Long quarter -- Gallery always painted white for the show was painted blue and he sees something in the museum that's done well just copy it. This light the photograph makes the colors look more different than they are but in fact -- this is a kind of rich blue based very much on the probably and that's the color. We use for our last room well devoted to late styles of these two artists. -- attention briefly took this picture here. This -- to petition because there's a beautiful description written down were described by a brother Paul the -- It was a kind of lap one of the last pupils petition. And he told this to boss -- a writer who then writes it down in the middle of the seventeenth century. This is describing petitions working method intentions later career and having to slide up here at the -- of Christ 1559 from the product. Is a great great example Christ -- lit. Lowered into. The sarcophagus. The paint is ere reading broadly. Lots of broken lines no it's detail contour and imports from the warm patches of color amazing details like this. -- edge to the sarcophagus presented."

" I just a few quick brush strokes. All the -- when he writes on -- technique described. Quotation blocked in this pictures with a mass of colors which served as a bed or foundation for what you wish to express. And upon which he would then built. After having established this crucial foundation petition -- the pictures the wall and left them without looking at them sometimes for several months. When he later returned to them. This is now military. Similarly he scrutinize them as though they were his mortal enemies in order discover any faults. And now that analogy turns to a medical want. And like a surgeon treating a patient he would remove some swelling or excess flesh. Such an army of the -- were out of joint without the slightest pity for the victim. And he gradually covered with living flesh those bare bones going over them repeatedly and tell all they lacked was breast itself. For the final touches he would lead the transitions from highlights to -- we of his fingers. In the final stages two should Peter -- with his fingers and with the brush."

" Very evocative statement and that kind of thing again that would would have been passed down in oral tradition and then repeated. And written down in this biography. A politician. In the last room besides that great -- we have three -- which I thought was the perfect subject matter as these three -- Peter's age their thoughts would naturally turn to the subject of the contemplative respect prospective saint Jerome. And to -- don't muscular emphasizing the saint as a scholar translator the Bible. Petitions much not. I'll also muscular but now the -- much older. And much weaker body he holds like a Bannister is viable great talent. The face here is in fact. Just like that Joseph of empathy at the left of the two with is that self for petition. -- is by contrast. Very -- but but vigorous. Each of these artists I think put something of themselves these paintings -- say about there age. Final group we've got women hero. Kind of a section that fought as women in -- With. TARP when they're attacked in the creation by petition you really feel the crescent rusher petition going over again and again much relating the highlights -- that. With his fingers. To read a far more exciting really added so much energy. And it -- touches that don't necessarily work but it kind of effect like it's stop action photographed. This cushion here and the broken -- from increases next -- It suspended midair just been emphasizing the kind of violence again if tuition can take up -- it to -- was action to to read it wants to go one beyond a very negative. We if this Perseus and Andromeda. Two different story and similar kind of woman besieged look at this and so elegant. This is. Person is coming in with -- beautiful kind of and tangerine colored outfit. And notice how her -- at least upper body and proposed upper body are identical is this. To do red -- influencing Aaron is that there and his influence -- and to read up. Because they were down at the same time or are they both taking a common source -- that there's a statue maybe someone. In the orbit of John Colonia and both -- looking at -- now now that's not high eighties the statute book but it -- sense of challenge response. Finally very beautiful baptism that rob was brought from. That's for two simple best throw in invent this picture not well known restored by say that's just a few years ago. And notice how Christ who's normally on the Centre axis of any baptism. Has doubled pushed off to decide it's almost like you to print this season shift the Baptist upon which Houston is beautiful guy coming down to force the water on his head. There and isn't quite impressed by the competition. And and a drawing here in town the Fogg museum he actually poppies. Two Toronto's. Painting. And he's he's quite understood by not having Christ from the central -- haven't John the Baptist higher ups to give them more graceful. Post and he's thinking about various ways you could do it but in fact I think he acknowledges that -- matters of very ingenious invention he tips his cap. Then paints his picture where he is moved the arm down here but now. Move the arms of Christ up to. Create it -- closer to that Christ on the cross really making a full circle from baptism through Christ sacrificed. Of the crucifixion brilliant detail and then that's the whole thing in a landscape full. Of large trees really emphasize the beauty of God's creation. A totally different approach to to -- but indeed using it in his own mind improving upon to -- motif. Both of them reluctant to read a smaller -- both these artists in dialogue to tell the story the best way possible. We -- exhibition not an explanation point but rather with a question mark. This is to to read it was late self portrait 41 years after that earlier one. And his expression -- is bit bewildered he looks a bit for alarm the strong allies like Picasso size really strong eyes looking out that you. But they're also in shadow. And it's striking to think about the chronology it's a print made it stated 1588 this problem immediately after the painting was made. But didn't fit any time artist paints a portrait but it this year 1588. We -- twelve years after the death. Petition with the same here the fairness it dies I think what to -- random thought this moment. Looked around he realized that he was the last man standing. That the rivalry that so inspired him and now ended in one -- the great dialogue petition to direct -- and it's over thank you."

" I would be happy to take a couple questions that can talk to individual after. That that's a very good observation we have a point here that the initial pain again with the -- sort of very able to human 1513 was the as a kind of division between. So captain Madonna and child or kind of an indoor space with a dark walls kind of behind them and in the landscape -- outdoor space and the same thing was indeed. -- took up in the painting you know some forty years later. And it's it's it's not. It's either once was to be as specific building or something it's just that it into -- obviously that's the edge of of the case but but I I think it -- an artist who was in kind of abstract terms really thinking about compositions and he'd like balancing. We -- Separate me -- like strong -- he really thought even though he would do lot of it's composing the piece. Right on the -- a lot of record right I think he was very -- always thinking about geometric hope ways to underline underscore the composition. Interest Annika I know that things that look like -- go way back not a closely located concerned with -- but. And that's pretty hip O records existing point though because in a way that's economist -- he should be called Graco this morning -- which was. -- Subject. And he -- in fact holes though. He would have learned to paint clearly in increase. Create. His work -- most influenced by petition to direct and -- One thought I had -- organize an exhibition was to have room at the end devoted to Venetian paintings line combinations. Rubens Rickles proxy. -- Dot but then that's another thing this gets back to what -- at the beginning that exhibition is different from mobile. Is different from our -- from election. And what was new in this exhibitionist than wait three -- to each other similarly at the beginning. -- I have. Two pictures of Christ during the crossed the early one from the Gartner kind of circle Bellini and then very late edition and I got the Paris showed you of the blini the saints and the tension. I first wanted. Big prologue I wanted to -- portrait -- George donate wanna Sebastien popular vote and the curator the National Gallery of Art in Washington said Frederick. -- You spent -- your time trying to borrow that one George -- the only thirteen or some torturous world makes for -- and prolific in comparison. And and he said the same man effort to borrow the -- you know when Georgia you can borrow five where eyes and plus he said. To a Johnny dies at fifteen -- From the other artists that I mentioned are really out of the scene there importation and important project generation to direct -- mr. In artists who had died before they report. And and so that the that the key thing a lesson I've learned this it's something that we should keep in mind as we go to exhibitions is think what was the focus of the show and -- actually achieve that focus and I think although I would love for the citizens of Boston to have briefly here at George donate a -- portrait that jima. Sebastien appeal -- I think what was new about this exhibition is the focus on the theory I'm glad I took pictures -- Mean it could questions that it is artists consider themselves to clean Venetian. I mean. It's interesting that these kind of decisions come it off in the category -- our. Determined later I mean you know what it's a Mozart wrote 41 subsidies and that's not -- performance but he -- know who's doing that -- just proposed. Similarly you know these distinctions between -- annual color -- becoming -- at this time but it's only a hundred years later that. Biographers began to really see these painters is being. Standard bears the greatest of the -- I think there's a real sense of pride though and I think. That that. -- hadn't heard that comment that. These days to draw he would say you -- this point we do things differently here album and I mean it. I mean example of this is that even though he takes poses from Michelangelo to -- it takes -- from the way they handled. You know that actually manipulate the pain they manipulated the bit with their own personal style one very much -- you know beginning -- tradition. I mean the point we talk about a Venetian painting whether it's from -- you know you're basing it is an essential subject matter. Rich coloring that kind of thing it's based on art by the -- artists so they're really creating this style but I think. That even though they saw themselves in competition they realize they're all part of I think joint project for new type. Thank you."