Word: rembrandt
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Dates: during 1960-1969
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...suffering: "How well they understood /. . . how it takes place/ While someone else is eating or opening a window or just walking dully along." The small figure of St. Peter from the Third Abbey Church at Cluny is stylistically as spare as anything Matisse ever contrived, humanistically as moving as Rembrandt's Peter. Weighed down with the keys of the church he was charged to found, the guilt of his denials etched in his face, this Romanesque Peter creates an image that was born of faith but survives in beauty...
Stylistically, Picasso runs the gamut from the murky chiaroscuro of Rembrandt to a spidery line that Steinberg could be proud of. Technically, the prints are a virtuoso performance in which the artist often combines various techniques-etching, aquatint, drypoint-on the same plate...
Born in another age or in another country, Jacob Jordaens might have been considered a great painter. But the Low Countries in the 1600s, in spite of wars with Spain and brutal religious repression, saw the flowering of one incomparable painter after another-Vermeer and Rembrandt in Holland, Rubens and Van Dyck in Flanders. As a result, Jordaens passed into history as something of an also-ran. Now, thanks to a splendrous 315-work display of paintings, tapestries, drawings and prints at the National Gallery of Canada in Ottawa, Jordaens is finally getting the kind of full-beam spotlight necessary...
...others, these artists reveal a sublimely naive attitude toward their business, if not their craft. They are often unwilling to acknowledge the development of American film into a major mass-produced consumer product thriving on standardization. They know they were great: that their best cameraman could light like Rembrandt and did, that their designers recreated detail with unsurpassed fidelity, most of all that the degree of collaborative improvisation they enjoyed produced high art and certainly America's greatest screen comedy. The joy with which they took chances, the willingness to sacrifice themselves, the interest in experimentation makes itself evident throughout...
This year's Rembrandt book. The text by Art Scholar Horst Gerson is for the most part mercifully purged of art history jargon. Eighty big color reproductions (book size: 14¾ in. by 11¼ in.) have been carefully printed to reduce the yellow cast of ancient varnish that customarily obscures Rembrandt's backgrounds. The result, though it sometimes gives the impression that the paintings have just been overzealously cleaned and scraped, offers a rare chance to linger over details normally lost in murk. Weight: 10½ pounds...