Word: poussins
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...POUSSIN: THE EARLY YEARS IN ROME, Kimbell Museum, Fort Worth. The first major show in North America devoted to the 17th century master who was the father of classical French painting. Through...
Stuck with the emptiness of a foregone conclusion, Vidal improvises diversions to fill in the space. One involves Caroline Sanford's battle with her half brother Blaise over their late father's $15 million estate. Temporarily blocked from her share, Caroline sells four Poussin paintings, buys a money-losing Washington newspaper, and spices it up with sensationalisms a la Hearst, the man whom Blaise admires as "something new and strange and potent." Hay muses, "The contest was now between the high- minded few, led by Roosevelt, and Hearst, the true inventor of the modern world. What Hearst arbitrarily decided...
Scratch almost any great 17th century painter except Poussin, and traces of Caravaggio will appear. The vivid, tragic piety of his work after 1600 was fundamental to baroque painting. Without his sense of humble, ordinary bodies lapped in darkness but transfigured by sacramental light, what would Rembrandt have done? Caravaggio was one of the hinges of art history: there was art before him and art after him, and they were not the same. No wonder that he is now the artist that many new painters, in an age without authentic culture heroes, pine...
Again, the problem seems one of will, of whether or not one decides to seize time for one's advantage or to adopt the sinister equation that "Time is money." In A Question of Upbringing, Anthony Powell was struck by Poussin's painting of the dancing figures of Time who were "unable to control the melody, unable, perhaps, to control the steps of the dance." Today the dance has grown frenetic beyond measure. Yet everything hinges on the "perhaps"; in the world of punctuality and appointments, one may not be able to control ( all of time or even much...
...side of Balthus not predicted by The Street was suggested, in 1937, by The Mountain. This enormous scene of young hikers in the Bernese Oberland holds so many references-from Courbet, Caspar David Friedrich and Poussin, for starters-that it approaches pastiche. It creaks with the ambition to be a masterpiece and is regularly taken for one, though its composition has the spottily grand look of an academic mistake. But the figure of Balthus's blond wife, hands stretched above her head, rising from the dark plateau into the zone of early-morning sun, is a prime lyric invention...