Act 2, Scene 3

The narrative began with Act 1, scene 1 on April 10, 2013.

To access all scenes, scroll to blog archive at the bottom of the page.

Picasso

Before you begin, I must assume that you are an artist, but I am not sure just what you do.

Aitken

I’m a sculptor, I suppose, although not quite in any traditional sense. I’m working with all kinds of materials lately… well, Pablo, I think you might be a bit more easily interested in what I do. You experimented with a lot of non-traditional media, and that’s kind of what I do. Although that’s nothing new anymore, of course.

Picasso
But don’t sell Diego short (nodding with a smile in Velazquez’ direction). He has been magnificent in seeing the work at the Biennale, working with such open-minded intelligence to appreciate it all.

Velazquez, smiling

Ah yes, well I certainly am making the effort; although I won’t claim that I have understood the point of every exhibit I’ve seen.

Aitken

Sure – of course. I’ll show you some images of my work later. But what I was saying is that I really don’t know much about art before 1850, so David’s idea of a train of thought, or artistic inspiration stretching back through generations of artists … well, it’s not really like that for me. Not yet anyway. My train really only goes as far back as you Pablo, and Rodin.

Newkirk

I guess what shocked me most was that, even though Jen attended a special arts secondary school, then graduated from one of our country’s most prestigious art colleges, and is now a bright light in the Master of Fine Arts program at another of the best schools – even with all this background, Jen was never exposed to much art history at all, at least not to any before the Impressionist movement, roughly speaking. Is that a fair assessment, Jen?

Aitken

Well, yeah, I guess, but we did study everything after Impressionism really thoroughly.

I do feel a real connection to the more recent past though...

Newkirk

I would think that any feeling of connection with the deeper past will be more difficult for Jen, and presumably for many young artists, to identify with. I've been struggling with this a bit. Diego, I hope you won't be offended, but I sometimes wonder whether there is a case to be made that, for artists today anything before say, 1850 for the sake of argument, really is irrelevant. Is it simply an esoteric exercise to reach further back into history? AND ... and ... since artists now often seem to feel that curating is an extension of their practice, are young curators also in the dark about the Renaissance, for example? And finally, does it matter?

Holland
Don't you think that this may have a lot to do with maturity? (Aitken blushes and starts to laugh). No, no Jen. I don't mean that you are immature; you certainly are not. I mean that with the simple passage of time, a person's interests can broaden. Maybe your time has been too full so far, to read about older periods of art history, to spark your interest.

Velazquez
Please excuse me for asking, Senorita Holland (Holland interjects, "Valerie, please Diego"). Valerie then, thank you. Are you too an artist?

Holland
Oh. No, well I'm not a visual artist. I trained in classical ballet, and I have done some work in the theatre, so I can relate to the difficult life that artists often endure. But these discussions are really interesting, don't you think?

Picasso (before Velazquez can respond)
A dancer! I should have known; I am helpless in the presence of a beautiful ballerina.

Holland (smiling)
Pablo! Get your hand off my knee, you little rascal. Olga was with Ballet Russes I believe, wasn't she? (Picasso nods with a lecherous grin). And I'm sure that you have some fascinating tales to tell about your friendships with Diaghilev, and Cocteau, and Stravinsky and a long list of others. I'd love to talk to you about the sets you designed for example, but really, stop flirting, Pablo!

Picasso
Ah, well. I am the old dog who has trouble with new tricks, but I'll do my best to learn.

Velazquez
Behave yourself, Pablo. Please ... I'm still waiting to hear whether I am irrelevant. (laughter and protests around the table. The wine has arrived; Newkirk offers a toast to the distinguished guests, and Velazquez reciprocates with thanks for bringing together so many wonderful artists. Pleasurable murmurs and comments on the wine. There is a lull in conversation as everyone turns to the menu.

Act 2, Scene 2

The narrative began with Act 1, scene 1 on April 10, 2013.

To access all scenes, scroll to blog archive at the bottom of the page.

Velazquez gestures toward the table where David Newkirk, Valerie Holland, and Jennifer Aitken are seated. As the two approach the table, Newkirk stands, extending a hand to greet them.

Newkirk

Pablo, Diego; wonderful to see you. We just arrived ourselves. Diego Velazquez, Pablo Picasso, I'd like you to meet Valerie Holland, and Jennifer Aitken. 

Jennifer Aitken

Valerie Holland

Holland, smiling warmly

You'll join us I hope. I've been looking forward to meeting you both.

Newkirk and Aitken agree, and insist that the two newcomers have dinner with them. Velazquez and Picasso readily accept the invitation and pull chairs for themselves to the table. Cutlery and napkins appear as if by magic, and the party of five settles in for dinner and conversation.

David Newkirk

Newkirk

I hope you have been enjoying yourselves so far. I can't get over how many accepted my invitation. Venice is hard to resist at any time, but with the Biennale art also still here to see, how could you not want to join this group? Curiosity alone would have brought many, don't you think? Jennifer and I were just talking about this idea of artistic legacy, the notion of connecting various artistic influences through time – well, this "train" of linked achievements that, uh, inspired my creation of this event.

Picasso and Velazquez nod, and mutter an indication of their interest in the subject.

I was describing the connection between your work, Pablo and Diego's, and that of Paul Cezanne, for example, and that all of you were also somehow affected by Jacopo Tintoretto, regardless of whether there is any overt evidence of his work in yours. You both owe him a certain kind of debt, wouldn't you agree? ("Ah, Si "... emphatically from Velazquez, more agreement from Picasso)

My question for Jen was whether or not this idea of a creative or stylistic link with the past is one that still interests young artists of her generation. I think the answer is a qualified "yes," however the impulse seems to have been somewhat blunted, if I understand Jen correctly.

Ah, just a moment. (the pleasant-looking, middle-aged owner of the osteria has arrived at the table to ask about a choice of wine)
Buona sera. Tutto e bene?

Owner
Si, molto bene, grazie, e lei?

Newkirk
Molto bene, grazie. Vorremo due bottiglie di Sagrantino, per piacere. Il migliore che avete. Grazie. E anche dell'aqua minerale, con gas, per tutti.

Owner
Prego, signore. (leaves to get the wine and water)

Newkirk
I've ordered a wonderful Umbrian wine. They don't export much of it, at least not to Canada. And I asked him to bring the best he has (laughs). Since we are all together in this fantasy time-warp, we may as well also pretend that money is no problem and have the best wine, no?

Jen, explain to Pablo and Diego what you were telling me.

Act 2, Scene 1

The narrative began with Act 1, scene 1 on April 10, 2013.

To access all scenes, scroll to blog archive at the bottom of the page.

As evening ripens a soft, warm light envelopes the city. Long shadows darken the narrow streets and alleyways. The hot blood of Venice cools, and we hear only the quiet chatter of diners enjoying a glass of wine before choosing from the menus of the many restaurants whose outdoor patios look onto canals, large and small. Wandering away from San Marco, Picasso has invited Velazquez to join him for dinner at a small restaurant in the Dorsoduro. Leaving San Marco, they make their way westward.

Picasso

I'm taking you to a little place called the Enoteca Ai Artisti – appropriate for us, don't you think?

Velazquez
I am in your hands, Pablo. So many charming places from which to choose. The dining establishments I frequented are now gone, it seems. A new cafe´ has adopted the name of a rather interesting place I visited more than once during my second visit to the city. At that time, the Cafe´del Ridotto was in the Palazzo Dandolo, and hosted gamblers, lovely women, and other denizens of the night, occasionally including me, as I said. The new version looks like a respectable, upscale restaurant. Good food, I'm sure; but perhaps not quite as exciting. The Palazzo is now an expensive hotel, the Danieli.

www.worldexecutive.com

www.cntraveler.com

You know, I am quite hungry. Please be my guest for dinner this evening. I am so enjoying our conversation.

Picasso (nods, accepting the offer)
That's very good of you Diego. Thank you, I accept. Ah, here we are.

tripadvisor.ca

www.capstan.at

Velazquez

Isn't that our host at the table on the left? He has certainly chosen his dinner companions well!

Act 1, Scene 10

The narrative began with Act 1, scene 1 on April 10, 2013.

To access all scenes, scroll to blog archive at the bottom of the page.

Titian

CAZZO! CazzINO! You little prick! I should have slit your throat when you first showed up at the studio. (arms flailing, curses, grunts and groans). Get out of the way Giorgio, I'm going to cut him a new asshole!

Giorgione (yelling)

Tiz! Tiz! Stop this – calm down. What the hell is wrong with you? (Tintoretto falls, and this seems to satisfy Tiziano, for the moment at least, as he backs away to catch his breath). Are you alright, Jacopo? No Tiz, stop your kicking. Get up off the pavement Jacopo. Everyone just calm down for a moment. What happened? Why are you two at it again?

Giorgione Barbarelli da Castelfranco

Tintoretto (breathing heavily, accepts a hand from Giorgione, dusts himself off and glares at Titian, nods in his direction)

We met for a glass of wine at Harry's, and of course dick-face here kept refilling his glass until he was completely pissed. He got louder with every swig, and finally up came all the old complaints.

Titian (looking a bit sheepish now, and perhaps a little green)

Yeah, well. You screwed me out of that job at San Rocco, you prick. Stupido! CAZZO!

Tiziano Vecellio

Tintoretto

You know damned well that's not what happened. Your proposal was on the table for four years – four years! – and nothing came of it. Sure, I out-foxed Veronese and the others, but that's no skin off your nose. Giorgio – tell him.

Tintoretto (Jacopo Comin/Robusti)

Giorgione 

Tiz, you're drunk. Oh jeez, don't puke on my shoes. Come on, let's find a place to sit down. Jacopo is right, Tiz. What's gotten into you? And put that damned knife away before the police or the Carabinieri are on us. Here, come around the corner. We'll go to the canal ... you've always enjoyed the walking along Schiavoni. The gondole actually are quite beautiful in this light, but we're going east, and nowhere near Harry's this time. Come along, the air freshens nicely at this time of day – you'll feel better. Jacopo, give us a hand. (... and they stroll away toward the canal, Titian's arms flung over the shoulders of the friends on either side, completing the classic image of pals indulging a drunken comrade)

Act 1, Scene 9

The narrative began with Act 1, scene 1 on April 10, 2013.

To access all scenes, scroll to blog archive at the bottom of the page.

Shuebrook

And would you say that this particular concern also explains your distortion of shapes like bowls and vases, and even of figures and faces? Where did you find the courage to break so decisively from the observable appearance of things?

Cezanne
Take a look one day at El Greco's Opening of the Fifth Seal, and you may want to reconsider the idea that it was I who had this courage. Oh, I know that what I did was quite different, but one mustn't claim more than his due. I find it so interesting that a painter such as yourself, whose work is so nearly divorced from the things we actually see – except perhaps as a point of departure – that you speak of my efforts as courageous, even today. And your work, from my point of view, is a very compelling balancing act: power and peace, order and disorder; it can appear to be brutal and tender at the same time. I like it very much. Never in my wildest dreams could I have imagined the multitude of interpretive approaches that artists have invented, once it became acceptable to diverge from what we had always thought of as the ultimate truth, the ascendancy of Renaissance window perspective. Courageous? Yes, perhaps. Certainly the critics were not kind to me in general. I think perhaps that these people who write about art have learned something since the early days, no?

Shuebrook
Well, you may be right about some. It's true that most of those who write about art are less likely to denigrate something simply because it seems new, or doesn't fit easily into any identifiable tradition. A few are exceptionally good – those who truly know the difference between a great work of art and a near miss. I enjoy reading Peter Schjeldahl in the New Yorker Magazine, and some Canadian friends write very well.

Cezanne
Wait! Look over there, directly across the piazza. What is that commotion? Do you hear the shouting? Something is happening at the foot of the Campanile.

http://www.bigfoto.com/europe/italy/venice/

... standing now, and motioning for Shuebrook to follow him toward the commotion.
Three men. Two seem intent on killing each other while the third is trying to keep them apart. I think that is Titian brandishing a knife, isn't it?

Shuebrook
You're right! Oh dear, this doesn't look good. Who are the others? Oh, I recognize Tintoretto, but ...

Cezanne, almost gleefully
The referee is Giorgione! Eternally young and strong – what a terrible tragedy to have lost him so early in life. Come, I love a good argument – all the mores if it comes to blows! Look – I think Titian is bleeding from the nose.

Shuebrook and Cezanne detach themselves from the crowd that has gathered, and continue their conversation as they enter the narrow street on the north side of the basilica and disappear from view.