Word: atheneum
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Dates: during 1990-1999
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Some artists get their museum retrospectives at 35, some at 60, most never. Pieter de Hooch is having his at 370, and it was worth waiting for. The display of 41 of De Hooch's paintings at the Wadsworth Atheneum in Hartford, Conn. (through March 14), is his first exhibition. Organized by Peter Sutton, the Atheneum's director, who wrote the De Hooch catalogue raisonnee back in 1980, it is an absolute delight. Unless you've seen it, you've hardly seen De Hooch...
While traveling in Australia last summer, our art critic, Robert Hughes, saw an exhibition titled "New Worlds from Old: 19th Century Australian and American Landscapes" and read press coverage of it, which included a review by Patricia Macdonald in Australian Art Collector. After the exhibition moved to the Wadsworth Atheneum in Hartford, Conn., Hughes' review ran in our Nov. 2 issue. His first three sentences were very similar to the opening sentence of Macdonald's article. "To my embarrassment I seem to have cannibalized it, but it was entirely unconscious," says Hughes. "I apologize to Ms. Macdonald and to TIME...
...remote Antipodes, let alone of what they might be. Never, one may confidently say, have two groups of Western landscape artists influenced each other less or known less about each other. Not just less. Zero, zip, nada. So why the exhibition now on view at the Wadsworth Atheneum in Hartford, Conn., "New Worlds from Old: 19th Century Australian & American Landscapes...
Felsher collected the narrative thread so that others could weave the story (most notably the authors of Time Inc.'s three volumes of corporate history, published by Atheneum from 1968-86). At first she helped staff members cull their files to decide what should be consigned to the wastebasket and what saved. Anything of historical interest went to the fledgling archives: Henry Luce's 1922 plans for the launch of TIME; March of Time radio transcripts; files from waggish Fortune editor and publisher Eric Hodgins, author of the best seller Mr. Blandings Builds His Dream House ("He didn't write...
...Hollywood mirror had been basically suave and gentlemanly. Brando, who grew up middle class, Midwestern and Wasp, radiated pure working-class alienation -- an inarticulate promise of danger, sex and social abrasion. Which is why, as TIME film critic Richard Schickel tells us in BRANDO: A LIFE IN OUR TIMES (Atheneum; $21.95), he was a mythic presence for all the young urban professionals of the '50s. Rude but sensitive, rough but anguished, Brando was their version of pastoral -- a noble-savage counterpoint to the corporate rat race. The myth got lost in the series of unsuccessful movies he made after...