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Created by the Met's Gary Tinterow and the French art historian Henri Loyrette, chief curator of the Musee d'Orsay in Paris, it has drawn in an astonishing number of major works -- nearly 30 Manets; more than that number of Monets; and work by a whole gamut of artists from Renoir to Cezanne and Whistler, from Frederic Bazille to academicians like Jean-Leon Gerome and even William Bouguereau. It focuses on the early years of the movement, the 1860s, before "New Painting" became controversial with the first Impressionist exhibition of 1874. It asks, What formed Manet, Monet, Degas, Renoir...

Author: /time Magazine | Title: ART: New Dawn | 11/14/1994 | See Source »

...catalog, Loyrette and Tinterow quote the art critic Jules Castagnary, who wrote in 1867 that the "modern spectacle" sought by the New Painters wasn't a matter of theory, ideology or history but of direct response to the world and its contents. "What need is there to go back through history ... to examine the registers of the imagination?" Castagnary wrote that "beauty is in front of the eyes, not inside the brain; in the present, not in the past ... The universe we have here, before us, is the very one that painting ought to translate...

Author: /time Magazine | Title: ART: New Dawn | 11/14/1994 | See Source »

...than 300 works that opens this week at New York City's Metropolitan Museum of Art. Nor are we likely to see again such a massive scholarly effort -- literally massive: the catalog, with its essays by art historians Jean Sutherland Boggs, Douglas Druick, Henri Loyrette, Michael Pantazzi and Gary Tinterow, weighs a tad over 6 lbs. Thanks to their efforts and those of the three museums that mutually organized the show -- the Musee d'Orsay, the National Gallery of Canada and the Met -- we have the means to see this extraordinarily complicated and sometimes elusive painter with a completeness...

Author: /time Magazine | Title: Art: Seeing Degas As Never Before | 10/17/1988 | See Source »

...Tinterow, like William Rubin in the New York MoMa show, has hung the works in chronological order. Simple, perhaps, for any other artist's work but for the genius of Picasso, two drawings executed even just months apart could be virtually unrelated and express entirely different facets of his life and world. The timeline of his work is not straight; it does not start at one point and end at another. Instead, Picasso spirals and soars, coming back to motifs and themes of his early life and also to those of his predecessors. The catalogue would facilitate what understanding...

Author: By Lucy M. Schulte, | Title: Unveiling Picasso | 2/23/1981 | See Source »

...BECAUSE TINTEROW'S selection process was deliberate and careful, the exhibition is easier to ingest than the MoMa show, which was ten times the size. Tinterow has successfully pared down Picasso's works on paper to a tight package, interesting to the giants of the art world, and intriguing to those who bring little previous knowledge of art to the Fogg. The exhibition is not one to be missed, and if the crowd of 1400 who came in out of the rain for the opening Thursday night is any indication, it will...

Author: By Lucy M. Schulte, | Title: Unveiling Picasso | 2/23/1981 | See Source »

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