Word: flemish
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Dates: during 1950-1959
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...what he paid for it. His Renaissance library is now one of Manhattan's handsomest small museums. Author Saarinen calls the place (36th Street and Madison Avenue) "restrained, not opulent; exquisite, not ostentatious. The East Room is regal with lapis lazuli columns flanking the fireplace and with a Flemish 16th century tapestry above it. What unconscious impulse of guilt or pride determined the choice of this particular weaving? It represents The Triumph of Avarice, and it includes one vandal stealing leaves of an illuminated manuscript...
...performed a herculean overnight cleanup job, Belgium's tall, shy King Baudouin, 27, formally opened the first world's fair anywhere since New York's in 1939. Under grey skies and an umbrella of 50 Belgian air force jets, the bespectacled Baudouin proclaimed in French and Flemish: "The aim of this World's Fair is to create an atmosphere of understanding and peace...
...Arts Director Richard S. Davis this week announced the acquisition of a handsome new Easter gift for Minneapolis: Anthony van Dyck's Betrayal of Christ. Bought for an estimated $135,000 from a Manhattan art dealer, the painting is a blazing work done by the 17th century Flemish painter when he was barely 23. It has long been recognized as one of the century's outstanding religious paintings, is ranked by Director Davis as "a breath of genius...
Seurat's paintings [Jan. 20] reminded me of a famed pathologist at the University of Michigan who occasionally gave lectures on "pathology in art," whimsically pointing out the "acres and acres of adipose tissue" painted by the Flemish artists. With this in mind, Seurat's immaculate technique, when applied to the representation of nudes, is suggestive of the measles, or worse, smallpox, or even the French pox derived from the older days of the bordellos of the Left Bank. These features of speculative pathology are, of course, lost in the Seurat landscapes...
...story is told with the luminous sincerity that haloes most of what Dreyer does. He has a deeper sympathy with the burgher virtues, a higher sense of the prosperous interior than almost any artist since the Flemish Renaissance; his frames impart the spiritual light of common things. And he can paint for the ear as well as for the eye; when suddenly the sound track fills with singing birds and a music of axles, bright September blows into the theater, tingling in the thoughts like merry harvest weather. Director Dreyer loves the human face ("A land one can never tire...