Word: magie
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Dates: during 1950-1959
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There is an unusual amount of art in this issue, mostly by Midgette, whose Magi cover is the best since the advent of the "architectural" cover. The Advocate is also blessed with a very colorful full-page cigarette ad. --FRANK R. SAFFORD
...newborn son has filled men with awe and rejoicing. To celebrate this event, artists have enriched the story with regal Byzantine mosaics, the glories of Chartres' medieval stained glass, with enamels, jewels, oils and frescoes. To the Nativity the greatest artists in Western history have, like the Scriptured Magi, traveled afar to bring their most precious Twelfth Night gifts...
...both the Virgin of the Star and the panel combining the Annunciation and Coming of the Magi (see color pages), which Fra Angelico painted for a reliquary for the convent of Santa Maria Novella in Florence, he relied on rich gold, Byzantine in its richness, for a background. Fra Angelico's own contributions were the new, soft-flowing harmonies of the robes, the fresh coloring which juxtaposed azure against deepest blue, pink against red to create a glowing world of weightless form and radiant, shadowiess color...
...Angelico and his assistants went to work, painting a series of Crucifixions in the cloister, the main refectory and the chapter house. For Cosimo's cell, largest in the monastery, where the Medici prince liked to retire for contemplation, Fra Angelico repeated once again the Coming of the Magi at Cosimo's request, "to have this example of Eastern kings laying down their crowns at the manger of Bethlehem always before his eyes as a reminder for his own guidance as a ruler...
...from Congress. Before long, the gallery would open, with a great fanfare. Inside its vast walls of naked, flesh-colored Tennessee marble, the public would find a trove of masterpieces from the Mellon collection-such unparalleled works as Raphael's Alba Madonna, Botticelli's Adoration of the Magi. But the hideous truth was that the Mellon collection, for all its scope and grandeur, could not begin to fill the gallery's 5½ acres of exhibition space. It looked very much as though the National Gallery would become a half-empty laughingstock of the art world...