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“Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”

EMULATION HAS LONG BEEN recognized as a major creative stimulus, but there has recently been increased interest in rivalry, on view, for example, in the 1999 landmark show “Matisse and Picasso”—and again this coming spring in “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice” at the Museum of Fine Arts in Boston, the first exhibition to look at the three Venetian giants entirely through the lens of their complex, at times fierce competition. The fifty-six paintings in the show, which is co-organized with the Musée du Louvre in Paris and includes many loans from Venetian churches and private collections, will offer carefully selected comparisons from all areas of their work. Curated by Frederick Ilchman, Jean Habert, and Vincent Delieuvin, the exhibition promises to dispense irrevocably with the passive notion of influence, since the three painters never engaged one another without

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