Word: brunelleschi
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Dates: during 1970-1979
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...peculiar rather than radical. Its main element is a 660-ft. glass slab laced into a Beaux-Arts, Manhattanist corset of pinky-gray granite. This shaft sits on an entrance block that is an enormous pastiche of the courtyard front of Brunelleschi's 15th century Pazzi Chapel in Florence. One cannot guess from drawings or models how well this will work. To take a small, private Renaissance chapel and inflate it to nearly the size of the Baths of Caracalla is the kind of perversity Johnson enjoys but has never been allowed to do on such a scale before...
...were dependent on membership in these guilds by 1293, and the guild was like a father watching over the education of his son: the guild supervised the artist's religion, educational apprenticeships, contracts and relationships to patrons, and even had the power of punishment. By the 1400s artists like Brunelleschi in Florence asserted freedom against the guilds...
...luminously translucent Seravezza marble becomes a public conversation between two old friends. This is appropriate, considering how deeply embedded Moore's work is in the Italian tradition of monumental form. To see his largest piece, the 18-foot high, 170-ton Square Form with Cut, 1969-70, against Brunelleschi's apricot-colored dome of Santa Maria del Fiore is to realize how completely Moore has conquered the problems of architectonic scale, and how little the basic forms that satisfy the desire for "monumentality" have changed in the intervening 600 years. To Moore, who first visited Florence...