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...most famous anamorphic image in art is the smear of paint that tilts upward, like a dun-colored flying saucer, from the bottom of Hans Holbein's 1533 double portrait of Jean de Dinteville and Georges de Selve, The Ambassadors. When squinted at edge-on, from the right-hand side of the frame, the smear turns into a skull. The illusion is startling: the rest of the painting disappears and the death's-head floats eerily in a greenish-brown blur. What Holbein meant by it is still a matter of debate among historians. Is it a comment...

Author: /time Magazine | Title: Art: Fun-Fair Illusions | 10/4/1976 | See Source »

...spring's bicentennial binge, "Paul Revere's Boston," is finishing its five-month run. It's interesting for colonial silver-and-furniture buffs, but I for one am becoming very bored with the eighteenth century. just opened is an exhibit called "Northem Prints of the Late Middle Ages"--including Holbein's Dance of Death, Durer's Melancholla and other masterpieces. Certainly worth catching. Through Dec. 7; the MFA is free on Sundays from...

Author: By Kathy Garrett, | Title: GALLERIES | 9/25/1975 | See Source »

Also of Interest: "Pablo Picasso--Printmaker" through December 8 at the Museum of Fine Arts (Arborway subway to Northeastern stop). An exhibition of books on Hans Holbein's sixteen-frame woodcut "The Dance of Death", through Sept. 30 at the Boston Athenaeum, 10 Beacon St. In Boston. Photographs by Dadaist Man Ray in the Jewett Arts Center at Wellesley College, Sept. 30-Nov. 3. And, for all you frustrated peeping toms, photographs by Ron Galella, who is currently making a fortune off his new book on Jackie Onassis, at the Boston Harbor Campus of UMass, through October...

Author: By Kathy Garrett, | Title: GALLERIES | 9/26/1974 | See Source »

...Venice, Botticelli's Madonna and Child, Giotto's Jesus, Fra Angelico's Assumption, etc. Few museums equal the Gardner's extensive collection of Italian masters. But Berenson was not to stop at conquering Italian walls; sensing Mrs. Jack's interest in a bargain, he induced her to buy Durer, Holbein, Rubens, and Rembrandt...

Author: By Meredith A. Palmer, | Title: The Gardner Museum | 4/19/1971 | See Source »

...next to Guardi's Venice rather than placing a Tintoretto in between. And why is Vermeer's Young Woman between Claude Lorrain's turbulent Trojan Women and Poussin's Rape of the Sabine Women? For chronology or for a calm between two storms? Why not pair the Vermeer with Holbein's portrait of a German merchant? Pairing would at least make the viewer question why the two paintings were paired. Even pointing out both artists' attention to detail, would be better than just letting the viewer admire the beauty of the work. But can a museum really cause reactions...

Author: By Meredith A. Palmer, | Title: Masterpieces from the Metropolitan Museum | 10/15/1970 | See Source »

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