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Winslow Homer was, along with Thomas Eakins, the greatest American painter of the late 19th century. Vermeer of Delft was the greatest Dutch one of the late 17th century. Both are the subjects of extraordinary retrospective shows at the National Gallery in Washington. But because the Republicans' zeal to pressure Bill Clinton into signing their balanced-budget bill has closed the National Gallery (along with the whole Smithsonian complex, and much else), nobody can see Homer in Washington, though the show will travel to Boston in February and New York City in June...

Author: /time Magazine | Title: ART: DUTCH TREAT | 1/8/1996 | See Source »

...above all, an unsurpassed painter of light. He used the finest-ground colors, and he knew everything about glazing and underpainting. Those ultramarine blues, whites and lead-tin yellows make each image an epitome of a luminous world, a place not merely revealed by light but constructed by it. Even his darks shine. The late 17th century in Holland was an age of the eye: optics was a ruling scientific interest, and the telescope and microscope were opening tracts of nature that up till then had been below or beyond normal sight. As an aid to painting his View...

Author: /time Magazine | Title: ART: DUTCH TREAT | 1/8/1996 | See Source »

Sight has taken over from narrative. Nothing really happens. Time has stopped. Yet for all his classicism, his tense repose and care with proportion and interval, Vermeer can be a theatrical painter. It's just that the theatricality is cooled down by being shifted from people to props, leaving the peace of the figures undisturbed. It's like the moment when a curtain rises to show an actor in reverie ignoring the audience...

Author: /time Magazine | Title: ART: DUTCH TREAT | 1/8/1996 | See Source »

Most of the paintings, drawings, prints and photographs in the small but representative exhibit are the result of collaboration between the artist and Lois Orswell, a long-time collector of his work. Born in Decatur, Indiana, Smith had scarcely any exposure to the artistic community until he met painter Dorothy Dehner in the mid-1920s. After working in factories, Smith wished to bridge the world of industrial manufacturing and high...

Author: By Frank A. Pasquale, | Title: David Smith's Abstract Identity | 11/30/1995 | See Source »

Ptashne says he was particularly moved by the story of 20th-century German painter Hans Hoffman, who taught many prominent modern artists at his Rhode Island school. Although he was a key figure in the modern art movement, Hoffman did not paint many of his well-known pictures until he was 80 years old, Ptashne says...

Author: By Curtis R. Chong, | Title: Professor Finds Beauty In Violins and Viruses | 11/22/1995 | See Source »

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