Word: flemish
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Dates: during 1970-1979
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...saved by the obscurity of its village; it was not looted during the interminable wars that rolled back and forth across the lowlands from the 16th century to the 20th century, and it was spared the fury of Protestant iconoclasm. The result is the finest intact collection of religious Flemish carving from the 12th to the 16th centuries that can be found anywhere...
...Gothic art in its left-hand figure, St. Catherine; but Mary, in the center, decorously extends her hand to her child, whose eager little arm is poking over the edge of the strict Gothic frame, while St. Joseph, with purse, rich robes and amply confident gestures, is already a Flemish businessman...
...Gardner Museum is in fact Mrs. Jack's jewel box with its own Vermeer quality of natural lighting, stone floors, Gothic windows, and Flemish tapestries. The spring flowers that fill the courtyard intertwine with the Venetian stone and grow into ornamented columns. Her museum is a refuge from the noise, the pollution, and the threatening man-made environment today; the Isabella Stewart Gardner Museum, unchanged in all these years, is one brief moment caught from fleeting time...
...little panel (it measures 181 in. by 141 in.) had disappeared in the Middle Ages and reappeared late in the 19th century in the collection of the first Lord Newlands of Mauldslie Castle, a Scottish industrialist with a taste for painting. It was vaguely attributed to the 15th century Flemish painter Quentin Massys. But nobody paid much attention, least of all the owner's heir Violet, Lady Baird, who kept it in her cottage at Bray mainly because it reminded her of a dear friend. Then, in December 1967, she decided to sell a trinket or two. David Carritt...
Duke or Saint. This week Britain's National Gallery will put the panel on show cleaned, the halo and lettering removed (they are by a later hand), and identified as a lost work by the great Flemish master Rogier van der Weyden. After long negotiation with the estate of Lady Baird, who died in 1969, the gallery bought it for the equivalent in cash and tax relief of $1,920,000. It was the second highest price ever paid by the museum for a work of art, topped only by the $2,240,000 paid for Leonardo da Vinci...