Word: triptych
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Dates: during 1950-1959
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Best-Kept Secret. How such a world-famed masterpiece arrived at the Met is so far one of the art world's best-kept secrets. The Met has had the triptych for more than a year, hints that it has not been in Belgium since World War II, gives no hint as to the identity of the seller. Several months ago (long after the fact) Belgian authorities heard rumor of a pending sale, called on the Merode family, which had owned it for two generations, to stop the transaction. When it was pointed out that the altarpiece had been...
With considerable pride but without great fanfare, New York City's Metropolitan Museum of Art last month announced the acquisition of the famed Belgian Merode triptych. The Annunciation. By last week the Met's purchase of the altarpiece had become an international cause célébre. Said a resolution signed by 22 of Belgium's top museum directors and art teachers: "Often in the course of its history Belgium has had to witness, powerless, the destruction or pillage of its artistic patrimony. Once more, and this time without being able to cite the accident...
Painting of Mystery. The Merode triptych is one of the great mystery paintings. The painter, date and donor are all matters of conjecture, though the Met's Curator Theodore Rousseau Jr. makes a good case for attributing it to Robert Campin and dating it about 1420. In this century it has been exhibited only twice-in Bruges in 1912 and in Paris in 1923. Since then it has been kept out of sight...
...must congratulate TIME, Oct. 14, on "A Masterpiece Come Home." It is refreshing to read such articles about the finer things of life; and the triptych of the famed Cracow Altar by Wit Stwosz, or Veit Stoss if you prefer, is certainly one of the finest. The beautiful illustration that accompanied the article clearly proves this. However the article refers to the sculptor as a German while Stoss was definitely a Pole...
Moss has shown good taste, too. He has done most of the cutting in the central triptych, where Shaw's writing was weakest and most forced. The two acts of Part I ("In the Beginning") remain virtually intact, and these are really great writing and great theatre. In Part II ("Gospel of the Brothers Barnabas"), Moss has strung several comments by one man together into a short address; with the house lights half up, Professor Barnabas speaks to the audience as though addressing one of his biology classes--an effective solution indeed. For Part III ("The Thing Happens") Moss drew...