Word: botticelli
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Dates: during 1950-1959
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...many years past about the iniquity of the way Italian pictures particularly are being skinned alive by restorers." Other letters pointed out various masterpieces in London's National Gallery which may have ceased to be masterpieces through too much cleaning. Among them: pictures by Giovanni Bellini, Botticelli, Titian, Rembrandt, Velásquez, and even Leonardo's great Virgin of the Rocks. Leonardo's figures, wrote one angry correspondent, "are now bathed in a light only seen on the faces of the dead; or the neon lighting of a coffee...
...Sterling and Francine Clark Art Institute, the Clarks ignored cost (local boosters boast that the marble for the new museum was the biggest single order in Vermont since the U.S. Supreme Court), but insisted on quality. In 45 years of collecting, the Clarks have ranged widely, from Botticelli and Piero della Francesca to Puvis de Chavannes. The museum still has 30-odd Renoirs tucked in the basement, one soon-to-be-opened gallery hung with Italian primitives. The rest of the Clarks' collection, housed in residences both in the U.S. and abroad, is so large and dispersed that Museum...
...collection was readied for hanging in Barcelona's Museo de Arte de Cataluna, Spaniards discovered that the prize was well worth the haggling. Spread out before them was an eye-filling feast of masterpieces by Spaniards Zurburan, Murillo and Goya and such other masters as Rubens, Cranach, Tiepolo, Botticelli and Correggio...
...look like a house which had slowly accumulated things rather than a museum. A Manet hangs by a Sargent; in the Chinese Loggia there is an early French French statute of a Madonna and Child; in the Raphael room, a bronze Roman bowl stands next to a Botticelli; and eighteenth century French bread cake lies near a magnificent self-portrait by Rembrandt; near several Whistler pastel is a collection of lace in a cabine which hides a hot air vent, in the Veronese room. "It is truly a human museum," says Carter...
...promise of perpetual maintenance from Congress. Before long, the gallery would open, with a great fanfare. Inside its vast walls of naked, flesh-colored Tennessee marble, the public would find a trove of masterpieces from the Mellon collection-such unparalleled works as Raphael's Alba Madonna, Botticelli's Adoration of the Magi. But the hideous truth was that the Mellon collection, for all its scope and grandeur, could not begin to fill the gallery's 5½ acres of exhibition space. It looked very much as though the National Gallery would become a half-empty laughingstock...