Word: pieta
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Dates: during 1940-1949
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...Metropolitan Museum (TIME, April 14, 1947), which had never before exhibited a one-man show of a living artist. The rest, all done withinć the past 20 years, had been brought from Yugoslavia by his brother Petar. The hit of the Metropolitan show was a 5½ ton Pieta done in the muscular, dramatically contorted tradition of Michelangelo, and too big to transport to Pittsfield. The Berkshire exhibition emphasized Městrović's carved wooden bas-reliefs and single figures whose intensity made Hungarian Sculptor de Strobl's vaster ideas look blown up (see below...
...drawing stage (see cut). Says Barr: "Its figures are facts-the famished, waxen cadavers of Buchenwald, Dachau and Belsen. The fury and shrieking violence which made the agonies of Guernica tolerable are here reduced to silence. For the man, the woman and the child this picture is a Pieta without grief, an entombment without mourners, a requiem without pomp...
...Giovanni, each Madonna and Child, Crucifixion, Pieta, martyred saint, and lay portrait was an essay on nature as well as on man. He organized his pictures with the care of a conscientious gardener, planting every detail where it would have room to grow and impress itself on the eye. Light was all-important in his best works; he fixed its color and quality precisely enough to show the weather and the time of day. But the light said even more: he made it a link between people and landscapes. In paintings like Saint Francis (see cut), the painted light seems...
...place him in the first rank of the exhibitors. His watercolor view over Boston housetops captures all the warmth and richness of Beacon Hill brick against the late afternoon sky. Carl Pickhardt '31 has four lithographs in the show, all very simply and very powerfully executed, especially the "Pieta" and the "Christ at Emmaus," with its Grecolike faces, and minimum of light areas. His work suggests the influence of stained-glass window design, with heavy lines blocking off areas of black and white...
...Weyden directs his appeal to the individual as a whole rather than to the religious element within the individual. Christ has become less of a far-distant object of veneration and more of an immediate source of sympathy and feeling. The person who looks at Van der Weyden's "Pieta" is apt to feel moved from within rather than drawn from above. A feeling of Gothicism is no longer present...