Word: metropolitan
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Dates: during 1970-1979
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...exhibition of 300 paintings and drawings by Andrew Wyeth that opened last week at New York's Metropolitan Museum is bound to be successful. That, in the Met's eyes, means so jammed with people that the art will be virtually invisible. At 59, Wyeth is the most popular, perhaps the only popular "serious" artist in America. For the past 20 years his elaborately finished tempera paintings of the landscapes and neighbors around his winter farm in Pennsylvania and his summer house in Maine have become indistinguishable, for an enormous public, from a dream of vanished moral rectitude...
Starting with Jackson Pollock, one can easily think of a dozen modern American artists who have not had retrospectives at the Met but whose works possess richer cultural and historical meaning than Wyeth's. Why, then, the immense accolade? The reason is simply box office. The Metropolitan Museum hopes to make at least $2 million from the sales of Wyeth catalogues and souvenir reproductions alone. To ram the point home, a boutique has been set up at the show's exit, and visitors have no choice but to run the gauntlet. Hard sell Hoving strikes again...
...role of Manrico that Italian Tenor Luciano Pavarotti presided over the opening of the Metropolitan Opera's 92nd season in New York last week. Weighing in at well over 300 Ibs., his swordsmanship lightheartedly heavy handed, Pavarotti did little visually to make a believable character of Manrico. Vocally it was another matter. This was the kind of elegant, radiant singing that has made Pavarotti the most exciting lyric tenor in all opera. For Pavarotti and opera fans alike, Manrico was a major turning point in a notable career. It was the first time at the Met that Pavarotti...
...held in the dazzling, just finished $125 million convention center. To keep the finance ministers and bankers amused between sessions, Marcos and his wife Imelda also brought in an exhibit of ancient Egyptian treasures, the Soviet Union's Bolshoi Ballet and, from the U.S., Pianist Van Cliburn and Metropolitan Opera Soprano Montserrat Caballe. Even the shanties in the city's slums were freshly whitewashed for the occasion. "It is our hope," Marcos cracked at one dinner for IMF and World Bank officials, "that all this does not disqualify us from seeking...
...Slive] was disappointed that the painting was at the Metropolitan Museum all those years--this is the only thing I could do for our friendship," Hammer explained about his decision to bring the painting to the Fogg immediately after he purchased...