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ARTHUR NEETZ Emmaus...

Author: /time Magazine | Title: Letters, Oct. 4, 1948 | 10/4/1948 | See Source »

...appear, when TIME [Nov. 24] refers to the Boyman's Museum, Rotterdam, and other purchasers of Van Meegeren's pictures, as suckers, owing to their acquisitions having proved the work of a contemporary artist, instead of genuine Vermeers. Has their merit wilted thereby? Is the Christ at Emmaus any less beautiful, because the authorship is changed...

Author: /time Magazine | Title: Letters, Dec. 22, 1947 | 12/22/1947 | See Source »

These words, spoken by the disciples at Emmaus, rang in the mind of the Rev. Henry Francis Lyte. All his life long the gentle English Methodist had hoped to leave something behind him to testify to the glory of God. Though his books of poems* were well enough received, Lyte feared that they would not long survive him. In 1847, when he was 54, he felt that his life was almost over. Consumption and asthma, from which he had suffered for more than half his years, would not leave him much more time...

Author: /time Magazine | Title: Religion: Help of the Helpless | 11/17/1947 | See Source »

When the exquisite Christ at Emmaus was found in the linen closet of a Paris house (TIME, Sept. 19, 1938) it was one of the big art stories of the decade. It was a soft-colored, realistic painting in the early style of Old Master (17th Century) Jan Vermeer. The Christ was authenticated by impeccable Dutch art experts, and bought by Rotterdam's Boymans Museum. Last week, a Dutch Nazi confessed that he had painted the "Vermeer" himself -and, what's more, had knocked off six others, plus two Pieter de Hooches for good measure. Total reward...

Author: /time Magazine | Title: Art: Masterpieces Only | 7/30/1945 | See Source »

...first rank of the exhibitors. His watercolor view over Boston housetops captures all the warmth and richness of Beacon Hill brick against the late afternoon sky. Carl Pickhardt '31 has four lithographs in the show, all very simply and very powerfully executed, especially the "Pieta" and the "Christ at Emmaus," with its Grecolike faces, and minimum of light areas. His work suggests the influence of stained-glass window design, with heavy lines blocking off areas of black and white...

Author: By A. Y., | Title: COLLECTIONS & CRITIQUES | 4/7/1942 | See Source »

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