https://amgreatness.com/2021/08/14/killing-art/
I recently had occasion to quote Charles Péguy’s observation, from a 1905 essay called “Notre Patrie,” that “It will never be known what acts of cowardice have been motivated by the fear of not looking sufficiently progressive.”
The cowardice in question can be intellectual or moral as well as physical, something that is vividly illustrated by Holland Cotter’s moist, mincing, over-the-shoulder-glancing review for the New York Times of a small but exquisite exhibition of paintings by the great Venetian Renaissance painter we know as Titian (d. 1576). The exhibition, “Titian: Women, Myth & Power,” is ending its three-city run at the Isabella Stewart Gardner Museum in Boston. The show centers around six large, mythological paintings commissioned by the future Philip II of Spain in the 1550s.
Based on themes drawn from Ovid’s Metamorphoses, the six paintings, reunited in this exhibition for the first time, are among Titian’s most celebrated, and for good reason. Painted between 1551 and the early 1560s, they show Titian at the apex of his powers. Cotter recognizes and affirms the greatness of the paintings but he is nervous, very nervous. You’ll know why when I tell you that pride of place is given to the Gardner’s own, newly restored work, a depiction of the Rape of Europa, a story illustrated by many artists, including Rubens, Guido Reni, and Goya, but not a theme likely to find approbation among contemporary feminists, the audience to which the Times is chiefly concerned to cater.
The story is a familiar one. Europa, out picnicking with friends, is approached by Zeus in the shape of a bull (this story’s metamorphosis). He charms her, abducts her, and whisks her away to Crete where, as Ovid himself put it in another poem, cetera quis nescit.