Lucy Snyder
Professor Graff
MHC 100
31 October 2012
Dearest Clovio,
It is the thirtieth of August, and I am only reminding you because I have noted it has been more than a fortnight since I have heard from you and I can only hope you have been distracted with your clients and busy with your family. You know I always enjoy hearing from you.
Having been in Venice for fourteen months, I have become quite acquainted with the revered Titian. He formally adopted me as one of his pupils last week, and in addition, I assist him in his work. Others have done the same for him but they remain in this position for most of their lives. While I am struck by this honor, I know I cannot stay for very long, for I must continue with my own paintings. Titian is an old man in his eighties and he will not be here for much longer as I am sure you have met with him fairly recently, though he is still vigorous in his profession and teaching.
The Venetian air has treated me well; I have very much so enjoyed living here but something is telling me a time for change is coming soon. I am unsure what has spoken to me but the thought of moving has come over me several times in the past twenty-four hours and I feel as though I should act upon my repeated notions. Actually, as I cogitate on the thought of leaving Venice more, I believe you have suggested it to me in the past, that I spend some of my days in Rome. Yes, now some names come back to me– Farnese, the Cardinal. I will be in touch with them later today regarding your recommendation.
As for now, I am enjoying my unique painting style. The way I portray my figures I praise our homeland of Greece and the wonderful stories it has brought us throughout history. I am currently working on a painting of my own, a scene which was inspired by the Catholic aura of Italy and it’s rich golden qualities. Amusing, I am using much gold in this painting, dark gold with dark figures and colors. I want to convey the presence of Christ throughout our ages in different places, so I am combining some of the nontraditional aspects of art in my dark contrast and filling of space, though I have not fully determined the background of this piece. It has some work to go. I hope you can get an image of what I am trying to explain; it is not so different from my The Burial of the Count of Orgaz in terms of its composition. When you see it, you will realize its Byzantine infusion in parts.
Manússos, I assume, is doing very well. He is still merchanting, I believe now off in Eastern Europe and his successes have never failed him. I have not heard from him recently either, and I wish he could just take some fifteen minutes of his hectic and sometimes manic day and begin a letter to me here. Even a word of his travels would entertain me; I know he is fine. I would like to speak of my experiences here in Italy to him as well. It is a shame we did not grow closer as we grew older. Our separate paths I believe have made us independent wealthy men but unrich in familial relationships.
Please respond with slight urgency. I miss your accompaniment through your words. Your letters have always helped me with your advice and helped comfort me knowing the things you have been doing. I truly hope all is well.
With much love, Doménikos Theotokópoulos, El Greco
