Word: piero
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Dates: during 1960-1969
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...maintain the U.S.'s only museum collection of medieval armor, the Met has a 200-piece set of armorer's tools, some dating to the 16th century, including yard-long shears. In the penthouse studio, the restorers ("Most important men here," says Rorimer) contemplate a Renaissance Piero di Cosimo for months before attempting to remedy a millimeter's flaking. In the dungeon basements, a crusty bronze Vishnu lies in a vat of alkali soaking nearly a year until cleanliness restores it to godliness...
...first-rate intellectual detective story and a fascinating photographic lecture in connoisseurship. In 1942 New York Art Dealer Piero Tozzi acquired a dirt-encrusted Renaissance statue of a boy seated on a rock. A sheepskin over one shoulder and a shell in one hand identify the youth as St. John the Baptist, and while Tozzi patiently cleaned the fragile ancient marble inch by inch, using only castile soap and a toothbrush, he began to think it might be a lost statue that Michelangelo is known to have carved in 1496. The possibility has aroused the cautious enthusiasm of a number...
...BRETT WHITELEY, 25, is a Sydney publisher's son and rambunctiously Australian, the kind who ties his own kangaroo down. He was enraptured by Piero della Francesca while on a scholarship in Italy in 1960, and has insisted ever since that paintings should have shallow, stagelike space, like Piero's. Says he: "I like to be stopped cold not more than two inches inside the picture plane. Even with Jackson Pollock, you go on forever and get lost." His own preference is for abstract figural arrangements with the "thumping, alive sense of skin on skin." After painting...
...company was hard pressed to pay its debts and, to make matters worse, the cost of building its new petrochemical plant at Brindisi on Italy's heel overran its $160 million estimate by almost 50%. The setback was enough to topple fast-running Managing Director Piero Giustiniani, the driving force behind Montecatini's expansion, and leave full command in the hands of the more conservative chairman, Count Carlo Faina, 69. Faina, a papal count who claims direct descent from Napoleon, guided Montecatini in the early postwar years, but had turned technical direction over to Giustiniani. After failing...
...barefoot peasantry. Then they turned to the subject matter that early French impressionism grew fat upon: landscapes populated by rocks and sheep, woodsmen warming in a shack, wheat harvests, the faces of peasants-all done in the subdued tonalities of their dulcet quattrocento ancestors, Fra Angelico, Domenico Veneziano and Piero della Francesca. This week in Manhattan, a show of 92 works goes on view at the American Federation of Arts Gallery; to many viewers, it will be a pleasant new-found island (see color) in the apparently empty seas of Italian art between the baroque period of the late 18th...