Word: caravaggio
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Dates: during 1960-1969
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...among other reasons, producing drawings that the authorities considered too erotic.) Tunberg finds that when "people these days say 'Look at the old masters,' they are thinking of a cheap, Tijuana-velvety painting of a bullfighter or a landscape." Such folk may find pictures by even Caravaggio or Michelangelo "too crude and experimental." Tunberg's Neoclassical Drawing Trap was put together as a way of asking, "Do you really know what you are talking about when you praise old masters?" Says Tunberg, who is working on a construction showing a pair of hands making...
...overwhelming impression conveyed by the great baroque masters of the 17th century, from Caravaggio to Rubens, is their delight in optical illusions, soaring space, voluptuous forms and twisting asymmetrical line. Johann Heinrich Schönfeld, a long-forgotten 17th century artist who achieved his first one-man show in 300 years in West Germany this fall, shared his century's delight in asymmetry and illusion, but drew the line when it came to voluptuousness. In the 89 canvases and 107 graphics assembled at Ulm's prestigious city museum, Schönfeld displays himself as a moody, broody...
Died. Walter Friedlaender, 93, art historian and professor at N.Y.U.'s Institute of Fine Arts, who cast new light into some dark corners of European art (Caravaggio, Poussin) and identified a 16th century transitional style of exaggerated painting that he called "mannerism," thus providing a key to the change from Renaissance to the baroque; of cancer; in Manhattan...
...seen in Europe this year. Of only 29 undisputedly authentic Vermeer paintings, Mauritshuis Director A. B. de Vries has managed to bring together eleven of the greatest, the largest such gathering since a 1696 Amsterdam auction. Setting them off is a complementary exhibition of masterpieces, ranging from Caravaggio to Cézanne, which echo Vermeer's serenity of spirit and magical treatment of light...
What Calvin inveighed against, Terbrugghen painted with brush in cheek. The typical Caravaggioesque huddling of figures unified by a single artificial light source lacks Caravaggio's brooding shadows, instead glows with an incandescent warmth. In the dumb show, hands are more expressive than faces. Terbrugghen was making morality playlets, but his sympathy seems to lie on the side of the sinners and the senses...