Word: pearlman
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Dates: during 1950-1959
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Speaking of such mundane things as tax deductions is one way not to describe the success of our next subject: The Maurice Wertheim Bequest and Collection of Mr. and Mrs. Henry Pearlman--on view at the Fogg Museum of Art through July. For contrary to the current rules of today's heavy buying in the art works of the 19th and 20th centuries, these large and very impressive collections have been built up more through an everlasting appreciation of art than an annual fear of Uncle's long-armed tax collectors...
Both the Wertheim and Pearlman Collections have the consistency of excellence and caring taste which establish great collections: their exhibition, along with the Fogg's own fine 19th century collection, leads Miss Agnes Mongan, Acting Director of the Fogg, to remark with justifiable pride: "You would have to go a long way--either across America or upon the Continent--to find a better 19th century collection this summer." For those readers who prefer deeds to words, a rather partial inventory of the collections shows: 12 water-colors and drawings by Cezanne, and oils by the following: Gauguin (1), Monet...
...Pearlman Collection (which is labeled "from an anonymous collection") has one overwhelming concentration: a dozen watercolors and drawings by Cezanne (along with three paintings)--an amassment which the painter's biographer John Rewald calls second to none in the world. I refer the reader especially to two of the landscapes, Arbres Formant La Voute (1906) and Citerne au Parc du Chateau Noir (1895-1900),--in these water-colors the broken planes and volumes show the new dimension of time which the "Grandfather of Cubism" tentatively proposed as an extension of the three-dimensional perspective space system perfected by the Renaissance...
...Pearlman Collection continues upstairs in Gallery XVII, which it shares with works from the Fogg's 19th century collection. Up here, the range and quality of the works is extremely impressive. Van Gogh's famous Tarascon Diligence is still a fresh visual experience upon its first encounter; its use of heavy brushwork, vividly dominant colors and incised outlines are Van Gogh at his best. Only an awkwardly distorted ladder disturbs this great masterpiece. Next to this work are a small and good Renoir Nude and a very fine Woman in a Round Hat by Manet...
...important to realize that all medieval dances, save a handful, exist only as a single line of notes with no further indications. The group chosen was played, as intended, by whatever instrumentalists happened to be available, in this case Gillian Adams and Chester Pearlman, recorders; Mary Davidoff, viol; and John Hollander, lute. The added improvised percussion parts for hand drum, tamborine and triangle were totally authentic. The players also performed two of the earliest polyphonic instrumental pieces...