Word: portraited
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Fogg Art Museum. "Portrait, Prospect, and Poetry: British Drawings from the Grenville L. Winthrop Bequest," through Nov. 11. Featuring works by artists such as William Blake, Aubrey Beardsley, Eric Gill, Hohn Constable and Dante Rossetti. "School of Paris," through Oct. 31. Works by the group of artists whose work epitomizes European modernism and the avant-garde. "Chaste, Chased, and Chastened: Old Testament Women in Northern Prints," through Oct. 24. An examination of the profusion of printed images of previously untreated Old Testament narratives with female subjects which arose during the 16th and early 17th centuries...
Park Your Car in Harvard Yard. E.G. Marshall and Maryann Plunkett star in a portrait of a high school music teacher and his housekeeper. Hasty Pudding Theater, 8 p.m. Call 496-8400 for tickets and more information. 15 October Friday...
...Jacob Jordaens, Jan Brueghel, David Teniers, and Frans Snyders. Not to be missed is Jacob Jordaens's amusing genre scene of a corpulent "Married With Children" type family entitled As the Old Ones Sing, So the Young Ones Pipe (1640-45). Also impressive are Van Dyck's stately, sweeping Portrait of the Marchesa Elena Grimaldi, and the massive, sixteen-foot Boar Hunt by Frans Snyders...
...English public. But American art in the 1920s is defined too narrowly, as being "about" cities, industry and visions (ironic or not) of progress based on technology. Its mystico-romantic landscape imagery gets edited out. See Marsden Hartley through his heraldic Cubist-based paintings of 1913-14, such as Portrait of a German Officer, that moving, coded valentine of homosexual love, but omit his later, grandly somber images of the Maine coast. Have Georgia O'Keeffe's skyscrapers, not her flowers. And, amazingly enough, leave out John Marin altogether, however much this may distort the actual story of American...
...Nancy Graves, Elizabeth Murray or Vija Celmins? Where are those formidable senior talents, the two Louises, Bourgeois and Nevelson, without whom no account of the post-Surrealist vein in America can be adequate? And what about -- but enough, enough already. One can see why there's a big self-portrait by Philip Guston, full of weltschmerz and peeking nervously over the top of a wall. He must have been expecting Norman of Beijing, not the other...