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Continuous Creation — Titian’s Nuova Natura
On Titian’s aesthetic of the unfinished and Renaissance notions of the subjective.
Fabrice Neaud interviewed
An interview with cartoonist Fabrice Neaud on autobiography, reality and risk in making comics about life
Raphael’s Portrait of Lorenzo de’Medici
The Metabunker summarizes the problems of attribution surrounding the Raphael portrait sold at Christie’s in 2007
On Italian Renaissance Drawing
15th-century Italian drawings at the British Museum, Michelangelo at the Courtauld
Kolor Klimax Press Pack
Press? Go here for everything Kolor Klimax and Nordic Comics
A Rubadub Sunday in Copenhagen
Vi fejrer ti års københavnsk klubhistorie med dette essay fra 2008
Titian in Belluno, Vienna and Venice
The Bunker reviews the exhibitions of late Titian in Belluno, Vienna and Venice
The Triumvirate in Boston
Titian, Tintoretto, Veronese at the MFA in Boston, 2009. Need we say more?
Ghosts of the Past
On Mizuki Shigeru’s NonNonBâ
The Constant Garage
On Moebius’ comics masterpiece, the Hermetic Garage, at TCJ.com. Addition here
Damian Marley & Nas Interviewed
The Distant Relatives interviewed on their 2010 tour
Kramers Four
Our 2003 take on the seminal comics anthology, written as it was happening!
Hogarth’s Chicken Fat
An analysis of Hogarth’s rich imagery as both support and counterpoint to his storytelling
Hergé and the Order of Things
Hooded Utilitarian column on Hergé’s vision and the necessity of comics criticism that engages deep form
Hughes wielded language like a knife. In the Carravagio clip here he describes the flogger as “a monkey-faced, gap-toothed little runt, who clearly loves his job.”
I vividly remember The Shock of the New from the first time around. He took us into the great galleries and stood us in front of great pictures and urged us to look, see, understand and think.
Art criticism in language that could not be misunderstood.
Heh, yes, that’s an evocative description. I’m still catching up on the tv version of “Shock”, having mostly been familiar with the book — it’s fantastic.