Word: rembrandt
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...second stage: let's have the museums and critics try to show something about quality in art, emphasizing that eighty per cent, at least, of today's artistic production is simply no good. It may surprise people to learn that this is nothing new; that for every Rembrandt, there were a hundred students and a thousand imitators who couldn't come close. The trouble with well-meaning exhibits like the one at the Art Association is that it gives all of art a bad name, though it may have been...
PIERPONT MORGAN LIBRARY-29 East 36th. Thirty-five Rembrandt etchings include nearly all of the landscapes he did in the medium, and eight self-portraits, ranging from a view of the uncombed but aspiring artist at 24 to the profound self-analysis that marked his later views of himself (through Jan. 16). The library also has a fine selection of old master drawings, highlighted by a rare Leonardo...
More than any other artist with the exception of Rembrandt, Beckmann uses his painting as a means for confronting himself, for actualizing his awareness of his individual destiny: My way of expressing my Ego is by painting...as a painter, cursed or blessed with a terrible and vital sensuousness, I must look for wisdom with my eyes...
...longa, vita brevis to the contrary, most "immortal" paintings are all too perishable. Oil paintings in particular suffer from uneven temperatures, direct sunlight, or smog. Some of the finest works of Rembrandt, a meticulous craftsman, have darkened and yellowed after three centuries; several Van Gogh canvases are in danger of disintegration after only 75 or 80 years. As for abstract expressionist paintings, which are characteristically encrusted with heavy, hastily applied impastos-often by artists who are relatively untutored in the complexities of oil technique-museums find that they should be periodically turned upside down so that errant paint will ooze...
...beefy bon vivant who invariably kept two jugs of wine by his elbow during dinner. His lust for life got him the reputation of being Germany's Van Gogh, but the real sources of Corinth's robust energy were the ruddy-cheeked oils of Rubens, Hals and Rembrandt. An exhaustive retrospective that opens this week at Manhattan's Gallery of Modern Art (see opposite page] and a graphics show at the Allan Frumkin Gallery reveal how - having apparently concluded that Germans make bad French impressionists - Corinth went on to smash the Wagnerian mold...