Www sonn lon xxx

However he is basically free from Mannerism,although he is not free from Sias sie isnu His r'lyi Trit Tft T'l Tmti Tnportant -a-nd inter- est4relation ^j-f^ the Antique. JJ^« ü1 ^ ^ nd mischievious writer, asked living in the Belvedere, the center of antiquarian interests, how he got along with the "old Stones.*' Titian *s answer was the Dana 9^ e_ m which there is fw '^ ^ /j/r /VW*^ ylrüSXl XXXll§):¥Il^I)SXKl I»MXKXIl^ Th^ exact execution has to do with the works of a Confraternity Wh« wanted a painting that would fit well with their works by Carpaccio and others; it is very different frora the violent action^of the twenties^T Alone, the little Virgin clirabs a long ing pries Steps to th« wait the people /(Ja Jrtjattentively, it o f tho t o Biplc A bohind he r nnrnmnnini runrl For the idea of the Virgin on a staircase, Titian turned to a traditional scbeme,^ ^acopo Bellini, in his Paris iketchbook, had represented the young girl at the top of a Short riight of round stairs at the enfirance to the teraple.

l In Florence, Taddeo Gadiii, annr Rrnftd wi tihinfiaw Bjiso'fatire, Hwh \ ^ cr\^we¥^j L, is the Version in Dresden c.

www sonn lon xxx-84

RECENTLY ONE HAS FOUND OUT THAT THE CENTRAL i TAtl AN PAINTERS OF THE SIXTEENT H CENTURY STUDIED AND USED, MUCH MORE THAN WE KNEW ANTIQUE MODELS, ESPECIALLY SARCOPHAG*^ AND THIS INFLUENCED THE I R WORK, FOR BETTER OR WORSE.

Ti TIAN WAS FULLY AWARE OF THE VALUE OF ANTIQUE SCULPTURE Vi i M .i tn Cc (.

HOWEVER, HE IS BASICALLY FREE FROM Mann ERISM, LEGT l/3 Xl THOUGH he IS NOT FREE FROM A CERTAIN CLASSICIS M [g^t?

-frtt» El HIS FIGURAL CONCEPTION OFTEN HAS THE IMPACT OF CLASSICAL ART AND STANDS IN AN IMPORTANT AND INTERESTING RELATION TO THE ANTIQUE.

But he never had an antiquaria N INCLINATION, IN A LETTER ARETINO, THE SPIRITED AND Legt i/U MISCHIEVIOUS WRITER, ASKED Ti TIAN, WHO WAS LIVING AS THE HORONED GUEST OF THE Po PE IN THE BELVEDERE, THE CENTER OF ANTIQUARIAN INTERESTS, HOW HE GOT ALONG WITH THE "OLD St ONES," TITIAN*S ANSWER WAS THE Da NAE I N WH I CH THERE IS CERTAINLY NO IMITATION OF THE ANTIQUE Va SARI SAID, IF Ti TIAN HAD SEEN AND STUDIED IHE Antique as a young man, he would have been the greatest OF painters.

However, he was not really deeply touched BY THE ANTIQUE AS MOST OF HIS CONTEMPORAR I ES WERE AS Mantegna, Raphael and Guilio Romano webe.f\ ^♦v 'i JD,^, U}i\Lref^ ^i^'i^h^^ie^ (Uji Lt^A'J^o^ \IHZ ^hz l^cükoe - xu:^! Lecture 1 TITIAN The impact of color Iäü.light and ATMOSPHERE IN Gl ORGIONE'S SMALL MASTERPIECE, The Tempest , goes far beyond anything that had BEEN CREATED BEFORE IN VENICE.Ev EN GIOVANNI Bellini, whom DÜRER IN l50p D ESCRIBED AS THE BEST ** I M GEMÄL** HAS NOTHING TO SHOW WH I GH EQUALS /, LUMINOSITY AND MAG I CAL DISSOLVING OF THE SURFACE.Cô em gái xinh xắn mới bước vào phòng thì bị cưỡng dâm ngay lập tức.Cùng xem phim sex XXX lồn em gái bị đụ đến nỗi chảy dịch nhày ra ngoài khiến cho con cu của thằng anh cứ ướt đẫm và sung sướng chết điên đi được.FOR Ti TIAN SPACE HAS ATMOSPHERIC DEPTH PERMEATED BY LIGHT AND COLOR; BY LOOSENING THE SURFACE HIS LIGHT LEGT 1/2 and colob emerge prom within and hence do not only reflect an M external source.

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