? Titian, who had never been to Spain, condemned Philip II of Milan, to fines of 1548, when he was only a prince. Había trabajado para su padre, Carlos V, quien le encargaba pintura religiosa, algo a lo que Tiziano era también affect, pero su enorme prestigio entre los nobles italienos venien sober tode sis eroticu cuadros, a los que solie anteponerles alguin tituli mitolci mitolci . Because the Church, very susceptible to this respect, solemnly respected rigorously the images highly validated by mythology, and, above all, if the painter had inspired in the Metamorphosis of Ovid, my leadership and reverence in that era.
? Philip II encounters Titian (this is the proposition and the monarch accepts) his mythological works, which are called “poetry”, precisely because they are based on classical mythology, and which were sent to Spain at the height of a decade, between 1552 and 1562. According to the English critic Peter Humfrey, the poems called by Titian the “poems” constitute “one of the most famous and influential conjunctivists in the history of the Western painting”. For various reasons, this group of paintings is painted as an all-purpose organ, according to Titian in one of his works, which shows views of a continuous manner and exhibits always, are scattered with the corrosion of the ears, exchange of dwellings, residences and museums and no matter what, it is sure that the proposition Felipe II will show some of them all reunited. The only thing we can do with security is that the ladies of the noble solian do not go fast with them, they can be lost in order to stay out of bed. The six works that Titian painted and called the “poetry” are current in Wellington and the Wallace Collections of London, the Museum of Prado in Madrid, the Galeries Escocesas de Edimburgo, the National Gallery of London and the Museum Isabella Stewart Gardner of Boston. That he had the correspondence of the director of the Museum of Prado, Miguel Falomir, that he had the idea of reuniting this exhibition and figure as its Commissar, in the three years that he was late in materializing, of values. for colmo, the coronavirus that has strayed around the world, coincides with the opening of the show in Madrid.No import: the exhibition is sober, the commune and the madrileans (and many French people receive legions, also, for the holidays of Semana Santa) that he saw could not be easily overlooked.Those we must be sure that the palabra sabia of the property Miguel Falomir hiciera of cicerone of the visit and we will have the explanations explained about the expo sic ión, enriquecida en este caso con cadadres de Rubens, Veronese, Allori, Ribera, Poussin, Van Dyck y Velázquez, todavía menos.
All of these paintings are extraordinary, and it’s something that no one cares about in the best exhibitions. And in all of them there is an unlimited freedom that expresses, in the way that history when it was only in myth and fantasy, the deep reasons that live in human beings create a species that enriches life and lifts our altar. sueños. It also demonstrates the limitations of reality in what we move, as in a circle in which we can express our ability to live more and better, to realize all our desires, to enrich our cultural circle. , art, civilization.
In addition to the liberation with which they are realized, these radiographic cadres are the community of European and Western culture, explaining the lack of frontiers that separate men and women from creation and fantasy, show that we form a single society and multiple a common denominator, when we develop our intimacy, sing that we have distinct idioms and professors distinct religions (or are against all of them), because of the time of healing and desire all of us the same. What insignificant things, when there is a gap between these fours, the desperation with which minorities are forced to exaggerate their differences, as if they, by virtue of their existence, are strong enough to destroy the solidarity of one another , of all the participants, pues she is quite generous to include all in her sueños.
This time there is an alarm signal that refers to the deviations and traits, each of which is more frequent, in the occidental painting, for so many artists who are disillusioned – paid, in the background – that he died, he died with the galleries and critics and collectors, the most important in his creative work: invent forms that renew the way that cement the tradition. The teams of Tiziano are exceptional, but at the same time they are accompanied by Rubens, Allori, Poussin, Van Dyck, Ribera and the exceptional Velázquez.
? The reason for being of art, in this case the painting, as the central complement of existence is also apparent in these small rooms where one appears to live in another way, not only free but also more pleasing and more conscientious, more conscientious of the things that are important and the ones that are not important to impart life and enrichment. These are times of religious and intolerant warriors, but, singing about it, the violence and the singing disappearing in the works of the masters as they are here, in these recent years of perfection and perfection, which are worthy and solvent, and in which our retired men, living another life, more rich, more intense, more free, more imaginative, than what sobrellevamos all days like a dogal.
It is not the same person as before, when a hall of an exhibition is. Some have changed in our way of looking and seeing the things. The world appears more fair and its faculties result from the hermosuras and delicacies that acabamos de ver, pero hay pesimismo que valga, porque lo que hemos viso no es un milagro sino un hecho humo, obras construidas con las manos y un exigen that it is possible to align with the power with which it is integrated into its area of inspired water, algo equivocal and without mystery, al alcance of all that, like them, work following its inspiration and not content with it, llevandola more adelante, enriqu and forms that fortalecen and innovan.
Some of them have impressed me with an exhibition like the one currently on display at the Prado: Mythological Passions. Certainly because, in these times, when it comes to our optimism about what we create the victory of science over the natural world, we have seen the vulnerabilities that we have, the precariousness that follows life, and the immensity of art and culture , the lights and shades of which stand tall. I’m sure that no optimist can say that the best emulsion to protect against terrorism that we feel when we see many deadly deaths around us and the lure of sanitation and medicine to save our lives, that more than all remedies are necessary museo como el Prado y descubrir for qué ciertos cuadros son un canto a la immortalidad, a la supervivencia en mido del horror.