Word: 17th
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...cost of propping up Réunion's economy, a whopping $2.7 billion per year in benefit payments alone, why does France do it? "It's more sentimental than rational," says De la Grange. "Réunion was a desert island before the French settled it in the 17th century...
...What takes Bailey's book beyond art history is his ability to see Vermeer in the context of life in mid-17th century Holland. To survive, an artist needed wealthy patrons - and the more the better. Vermeer had few benefactors, and he gained no more than a quarter of his income from painting; most came from his mother-in-law and his work as an art dealer. While contemporaries like Rembrandt and Frans Hals specialized in large canvases, lively down-to-earth realism and volume - 40 or 50 paintings a year - Vermeer's pictures are small, frozen-in-time images...
...Amphitryon. They probably couldn’t have picked a more highly-rated master of the comedic form, but they certainly could have picked a better play. Molière’s dexterity with the witty and intricate dialogue that was en vogue in the 17th century French court admittedly serves as a nice parallel to the intricacies of a story that has two sets of identical “twins” roaming the stage. (Mercury takes a stint as an identical copy of Amphitryon’s slave in order to facilitate Zeus bedroom escapades...
...imperial blues, wants to be reminiscent of the grand production Molière’s comedy first received at the Palais-Royal in 1668. But its inspiration seems to lie more in the gaudy extravagance of Broadway hits like The Lion King than in the theater of 17th century France. When seen in combination with Linda Cho’s stylized costuming and Frances Aronson’s over-reliance on primary colors in lighting the play, one might expect oversized puppets to dance across the stage. This effect is heightened or perhaps created by the cartoonish acting...
...crucifixes span five hundred years of European religious aestheticism,from a highly schematized bronze working of the mid-12th-century to an exquisitely detailed ivory piece by an early 17th-century Venetian artist. A glass case offers enameled plaques from processional crosses, each no larger than a silver dollar, while a near-lifesize wooden Christ Descending adorns one wall. For the small size of its sampling, The Art of the Cross represents the remarkable diversity of forms available to Medieval and Renaissance artists...