Word: rembrandt
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Dates: during 1960-1969
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...Mother of God, the stylized emotions of iconography were public and functional, with few secrets but only shared mysteries; to Giacometti, portraiture was similarly stylized, yet obsessive and all but totally private. Between them on that spiral way, at the far point from which the return curve began, was Rembrandt, searching and searching his own face, his own eyes, in the mirror of his self-portraits...
Fused Concerns. They step forth hesitantly, to look about them at a world which has come a long way from the crystalline vision celebrated by the icon makers. Yet Giacometti, however attenuated the impulse, is still in the lineage that reaches back to Bruegel's exuberant vision, Rembrandt's passionate introspection, the language of humanism. Across town at the Biennale, the young propose that the visual concerns of seven centuries have been mined out, exhausted. The argument is none too convincing among the melted statues and faltering gadgetry. It suggests that their alternative is itself running...
...Metropolitan Museum buys Rembrandt's Aristotle Contemplating the Bust of Homer for $2,300,000 at public auction...
...changes Rembrandt made in his prints are further evidence of the energy with which he sought to discover the truth about everything he drew. Not limiting himself to one idea, he expanded his conceptions, letting them change direction when he found something new in either his subject or himself...
...biblical scenes, though born in the artist's imagination, are as alive as the portraits. Filled with bunched bodies and old faces these master pieces appeal even to the skeptical modern eye. Concentrating on the crowd, some doubting, some frightened, some barely paying attention, Rembrandt depicted how ordinary people react to Christ in the course of day-to-day existence. The warmth emanating from Christ incorporates itself in details among people, in a calm face or one hand leading another...