Word: displayed
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Dates: during 1960-1969
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...Rembrandt, currently on display in of the period have immense appeal. But the reluctance of Museum directors to loan their most popular showpieces makes the exhibition a disappointment. The exhibition contains no Vermeers and only nine Rembrandts (eight of insignificant quality). The seven paintings by Hals, though over-emphasizing his later work, succeed exceptionally well. The late Portrait of a Woman from the Saint Louis Museum, and the small Portrait of a Man are exceptionally beautiful. They both have the characteristic dark background of Hals' late canvasses, and they demonstrate the virtuosity--particularly in Portrait...
Many significant influences on Dutch painting in the seventeenth century came from the South via engravings and etchings; these are not included in the special exhibition. However, at the Fenway entrance on the first floor, the museum has arranged a display of prints, from its own collection, in conjunction with the Rembrandt exhibition. The print show contains late Mannerist engravings by Goltzius and others, as well as a variety of genre works, portraits, landscapes, and several Rembrandt etchings. Rembrandt's genius is more adequately shown in these prints than in the paintings upstairs...
...only excitement left was a time-wasting display of dribbling by Cornell's Blaine Aston with about four minutes to play. Aston was helped by the fact that no one on the floor for Harvard made much of an effort to hound...
...consignment that for a month preceding the auction the gallery staged a $100,000 exhibit around it, including a hurricane room with simulated thunder and lightning and a reconstructed captain's cabin with an open chest of gold coins and a live macaw. Handsome though it was, the display merely hinted at the real splendor of the original hoard. The Silver Plate fleet, commanded by Captain General Don Juan Estéban de Ubilla, bore silver and gold worth today's equivalent of about $14 million, together with Chinese silk and porcelain and a sumptuous set of jewelry...
...hermetically sealed universe of the studios, everything is Ginger peachy. Rogers appears dressed entirely in coins, chanting cheerfully, We're in the Money. In the background, inevitably, preposterously, are the chorines drilled by Busby Berkeley, a choreographer whose work would now be called high camp. In a kaleidoscopic display of bangles and bosoms, they articulate 300 legs in unison, like a spangled centipede. With Fred Astaire, Ginger begins a cycle that lasts 16 years-from Flying Down to Rio to The Barkleys of Broadway. The routine never varies: Astaire's pumps beating an impassioned rat-a-tattoo...