|Jean François de Troy (French 1679 – 1752), The Abduction of Europa (detail of Europa's hand and cape), 1716, oil on canvas. National Gallery of Art, Washington, D.C.|
“It was the very evening on which Albertine had put on for the first time the indoor gown in gold and blue by Fortuny which, by reminding me of Venice, made me feel all the more strongly what I was sacrificing for her, who showed no corresponding gratitude towards me. If I had never seen Venice, I had dreamed of it incessantly since those Easter holidays which, when still a boy, I had been going to spend there, and earlier still, since the Titian prints and Giotto photographs which Swann had given me long ago at Combray. The Fortuny gown which Albertine was wearing that evening seemed to me the tempting phantom of that invisible Venice. It was overrun by Arab ornamentation, like Venice, like the Venetian palaces hidden like sultan’s wives behind a screen of perforated stone, like the bindings in the Ambrosian Library, like the columns from which the oriental birds that symbolised alternately life and death were repeated in the shimmering fabric, of an intense blue which, as my eyes drew nearer, turned into a malleable gold by those same mutations which, before an advancing gondola, change into gleaming metal the azure of the Grand Canal. And the sleeves were lined with a cherry pink which is so peculiarly Venetian that it is called Tiepolo pink.”
～Marcel Proust, À la recherche du temps perdu // In Search of Lost Time, Volume 5: The Captive, The Fugitive, translated by C. K. Scott Moncrieff & Terence Kilmartin, revised by D. J. Enright, p. 531.
|Giovanni Battista Tiepolo (Italian, 1696 – 1770), details of An Allegory with Venus and Time, about 1754-8, oil on canvas. The National Gallery, London.|
*“Giovanni Battista Tiepolo: a thematic essay”on The Metropolitan Museum of Art's website
*“Proust & Fortuny”on A Hymn to Intellectual Beauty: Creative Minds and Fashion blog