Word: arcadia
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...another. "The European chef there was miserable and kept saying that women had no strength, no stamina and no concentration," says Rosenzweig, who went on to become the controversial vice chairman at Manhattan's exclusive "21" Club, as well as chef-partner at her own New York City restaurant, Arcadia. Overprotectiveness, not abuse, was what almost undermined Leslie Revsin, a chef at the Barbizon Hotel in Manhattan. She recalls that men rushed to help her with any heavy task, even when she didn't need help. Revsin managed, however, and in 1972 became the first female "kitchen man" and then...
...exhibition is fascinating, but a blockbuster it is not. The pictorial tradition it examines -- broadly, the image of landscape as Arcadia, from Giorgione down the centuries to Bonnard, Matisse and their later modern heirs -- contains some of the most poignant, influential and exquisitely developed paintings in the history of art. Few of them, in these days of terminally fragile objects and impossible insurance costs, could or should be allowed to travel. An exhibition that dealt with this theme at full stretch would have to include Giorgione's Tempest and his (or Titian's) Concert Champetre, Botticelli's Primavera, Titian...
...Arcadia was the humanist's Club Med. In it, nothing happens. Shepherds and nymphs, young soldiers and scholars, madonnas, saints and animals loll about in a state of pure being, with no future tense. Arcadia has ruins, sometimes quite grand ones -- as in Claude Lorrain's classical revisions of the pastoral landscape, here represented by the Landscape with Nymph and Satyr Dancing, 1641 -- but Roman architecture does not include a stern call to Roman virtue and gravity. Arcadia's weather is always equable, and its views intimate and mellow. Above all, its location is not too far out of town...
...most Europeans in the Middle Ages, what lay beyond the city wall had been fairly odious; its image was not Arcadia but Dante's dark wood, a labyrinth of fear and self-loss, full of bears, wolves and demons. The conditions of medieval labor did not, to put it mildly, foster belief in happy flute-playing rustics. The rediscovery of Vergil and Theocritus changed that. First in poetry and then in painting, the glimmering, closed Theocritean landscape where gods and shepherds pursue nymphs and shepherdesses amid the boskage was reconstructed. You know, looking at Dosso Dossi's The Three Ages...
...Surveying the ideal landscapes of Arcadia...