Word: mantegnas
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...late Bernard Berenson had nothing but affection for the work of the isth century Italian Artist Carlo Crivelli. But when B. B. came to write his authoritative studies of Italian Renaissance painters, he felt obliged to leave Crivelli out. Though the artist was the contemporary of Giovanni Bellini, Mantegna and Piero della Francesca, he remained, in Berenson's opinion, essentially an exponent of the Late Gothic spirit-superb in his way, but "the product of stationary, if not reactionary, conditions." Last week 80 works by Crivelli and his followers were shown in the Doges' Palace of Venice...
...Loner. Son of a painter, Crivelli studied under the Paduan master Francesco Squarcione, who also taught Andrea Mantegna. Squarcione was a perfectionist who made his pupils spend day after day copying veined marble and Roman bronzes, the more intricate the better. Their paintings were fastidious, and their surfaces glowed like enamel. Crivelli never lost his sternly disciplined technique or his ability to make a canvas sparkle as if he had been working, not with brush and paint, but with gold and jewels...
French Composer Francis Poulenc has a favorite religious scene: the painting by Andrea Mantegna (1431-1506) in one corner of which a small rabbit crouches unaware of the tragedy being unfolded on the Mount of Olives behind him. It is the kind of light but not irreverent touch that Roman Catholic Poulenc himself strives for in many of his religious works. Last week the Boston Symphony introduced U.S. audiences to the latest and perhaps most contrast-filled of Poulenc's compositions-his Gloria, in which he says he tried "to write a joyous hymn to the glory...
...piece suggests Mantegna in mood, it is closer to a modern painter in manner. "The colors," says Poulenc, "are very clear, primary colors-rude and violent like the Provence chapel of Matisse." Scored for chorus, soprano, and a sort of celestial band of horns and strings, Poulenc's 25-minute Gloria proved to be a work of sharply profiled contrasts, at times deeply reverent (in the manner of his opera Dialogues of the Carmelites), at times mischievous and almost jazzy. Among its memorable moments: the opening of the second section, "Laudamus Te," with the dissonant cry of French horns...
...examination of The Real West (Gary Cooper narrating) that should leave the average TV oater looking like whinny the pooh. And this Easter or next Project Twenty will complete its life of Christ, taking the story step by step through Tintoretto's Crucifixion and Mantegna's Ascension...