Word: exhibit
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Dates: during 1990-1999
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Through the "Etching Revival," etching became a specialized medium, emphasizing the hand of the artist in the process, the value of the limited edition print, and the overall personal effect of the method in comparison to professional printing. The exhibit itself was organized by the Harvard students of Marjorie B. Cohn's Fine Arts Department seminar on the history of etching, which was given in the spring of 1995. The exhibit serves as an instructional experience which provides an introduction to etching. The students selected from the works of individual artists within the Fogg's collection, prepared the exhibit...
...those who do not find the evolution of etching gripping, this exhibit is still worthwhile for the works included by prominent contemporary artists not known for their printmaking. The three pieces by painter Edward Hopper reveal an artist gaining confidence in his peculiar vision. His paintings at first unrecognized, Hopper turned to etching, producing 60 works before 1928, several of which received acclaim...
...century nudes and his well-rendered, impressionistic "Omnibus," with hatching strokes powerfully suggesting the jostled weight of human bodies. A tight, involved etching by contemporary artist David Schorr and a striking and politically charged work in an intense blue aquatint by Douglas Dowd are similarly unexpected highlights of the exhibit. These works show the range of etching as a medium of both great precision and, at times, emotional impact...
...mysteriously, did the supply. It is therefore worthwhile to note that several weeks before the Michelangelo and Shakespeare attributions, the Metropolitan Museum of Art in New York City, just two blocks north of the house in which the little Cupid stands, came to the end of its "Rembrandt/Not Rembrandt" exhibit. This show reflected the labors of the Rembrandt Research Project, an Amsterdam-based group of experts on Dutch painting that since 1968 has relentlessly whittled down the number of paintings once attributed to Rembrandt (more than 700) by roughly one-half. Galleries and museums that found their prized possessions devalued...
First shown in fuller form at the Asia Society in New York City, even this pared-down version of the exhibit illuminates the ever-relevant subject of split national identities. To the exacting eye, however, the show comments more tellingly on the individual, human reaction to adversity in general, merely placed against the sometimes straight-forward backdrop of nationalities...