Word: knoedlers
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Dates: during 1930-1939
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From Boston and Brooklyn, from Chicago and Worcester, from a dozen private collectors, sheaves of water colors arrived at Manhattan's Knoedler Galleries last week for an exhibition to celebrate the 100th anniversary of the birth of the most distinguished U. S. artist the gallery ever sponsored: Winslow Homer. It was a shrewd choice as a memorial exhibition. Greatly honored in his own lifetime, Winslow Homer certainly never thought of himself primarily as a watercolorist. Yet modern critics are generally agreed that the U. S. has produced only three men who could create virile, important work in what...
...directly from the basic emotion of fear. But one fact is plain to all eyes: in any showing of African art the bronzes and carvings of the vanished Kingdom of Benin are definitely superior in spirit and technique to other Negro art. Proudly last week in Manhattan the distinguished Knoedler Galleries put on display 31 objects which constituted the most important collection of Benin art ever exhibited in the U. S. Follow the Equator westward across Africa to its crotch where the Guinea coast joins the coast of the Cameroons. Just in that corner stood until...
...Rembrandts and 36 more borrowed from abroad for the summer. Among the U. S. importations were Andrew Mellon's Self Portrait, a sharp-chinned, bloated, anxious man of 53 with a Vandyke beard (see cut); Julius Haass's Hendrickje Stoffels, Rembrandt's amiable young mistress; the Knoedler Galleries' 'Joseph Accused By Potiphar's Wife. Among the Rijksmuseum's own canvases were Rembrandt's three most famed paintings, The March-Out of Captain Banning Cocq's Company of Amsterdam Musketeers, long miscalled The Night Watch because soot in the Harquebusiers' clubroom...
...little, well-liked man muffling a torrent of talk in a brown torrent of mustache, he has never flinched, after his fiercest attacks on other men's works of art, from putting his own on view. Last week he did it again, at Manhattan's Knoedler Galleries, his first exhibition since...
Another great portrait of the 15th Century mercenary (scowling as usual, in a velvet cap and gold brocaded tunic) was the highlight of a loan exhibition of Renaissance portraits at the Knoedler Galleries. By Giovanni Bellini, it is the property of Lord Duveen of Millbank. There were plenty of other masterpieces to remind the public of the treasury of Old Masters still in private hands in Manhattan. Among them: Castagno's Portrait of a Young Man, lent by J. P. Morgan; another young man, by Botticelli, lent by Clarence Hungerford Mackay; Fouquet's John, Bastard of Orleans, lent...