Word: rembrandt
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Dates: during 1960-1969
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...Denver Art Museum, for instance, has only $16,000 a year to spend on new acquisitions -a sum that would not even begin to buy a top De Kooning or an Andrew Wyeth, let alone an old master. Yet last week Denver was the proud possessor of a Rembrandt (see color), proving that all is not lost in the little league...
...search for a painting that would fit in with his tiny cluster of top treasures, ranging from a Veronese and a Tintoretto to a Degas and a Renoir. He was not necessarily looking for a big name, but at the Wildenstein Gallery in Manhattan he happened to spot the Rembrandt in its marvelously fussy 17th century frame. The price for the painting was $95,000, but the gallery was willing to sell it on the installment plan. By last week the museum had collected from private gifts two-thirds of the purchase price, which gives it full possession. By order...
Then Saskia died, and that same year Rembrandt suffered a professional calamity. He painted on commission The Shooting Company of Captain Frans Banning Cocq (better known as The Night Watch), in which he infuriated many of the patrons by hiding them in his brilliant interplay of shadows. After that, Rembrandt was to know bankruptcy and the death of one loved one after another, including his only son. The years of tragedy were upon...
...probably not sufficient to relate Mr. Gunn's heroes to the convention of the "broken Coriolanus," or more contemporaneously and thus more deceptively, that of the cardiac Sisyphus. The quality of "starriness" central to the title poem and one other, entitled "Blackie, the Electric Rembrandt," is that "disinterested, hard energy" by which Nobody holds Nothing-at-all at bay. Mr. Auden's "ironic points of light" flashed out among a decimated signal corps on the last battlefield of love; Mr. Gunn's stars are self-sufficient. Where Donne tossed and scrambeld known quantities and academically-sanctioned categories, where Shakespeare talked...
Gone are the days of Potemkin when crowds swirled down the Odessa steps in a millrace of fluidity. Like Rembrandt, Eisenstein ended his career in a vein of classicism, but unlike Rembrandt, he worked in a medium that does not prosper when it gives up movement for stasis and symmetry--even when that symmetry ascends to such sublime heights as Ivan the Terrible, Part...