Word: vermeers
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Dates: during 1960-1969
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...Gaulle's approach to culture-involving the careful engineering of a creative resurgence-was entrusted to Andre Malraux, Western Europe's only Minister of Culture. Malraux's greatest achievements have been largely those of a museum curator-the staging of highly .successful retrospectives (Picasso and Vermeer), the lending of treasures abroad, the sandblasting of Paris' soot-stained architecture. Beyond that, he sought to dot the French provinces with Maisons de la Culture, designed to bring theater and art to outlying cities and towns. While the idea was not without merit, many of the theatrical directors Malraux...
...showing Richard Pettibone's miniature copies of Andy Warhol's soup cans, while another opened last week with Howard Kanovitz's paintings of his easel, his art-world friends and the backs of his canvases. A third gallery is showing Malcolm Morley's version of Vermeer's Portrait of the Artist in His Studio-a much-admired painting that has also served as the model for a collage by Alfred Di Lauro and a painting by John Clem Clarke (see color...
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...
...with seamstresses and customers exchanging confidences about fittings, and cluttered with bolts of satins and silks, ribbons and pattern snippings. In this homely setting, Vuillard, who derisively referred to himself as "the in-timist," fashioned vignettes of quiet domesticity that suggest a less radiant, fin de siècle Vermeer...
Whether a Godard deserves a festival is a matter of some critical dispute. To Richard Roud, author of a worshipful new study of his movies (Godard; Seeker & Warburg), the director is "one of the most important artists of our time," worthy of comparison, with Joyce and Vermeer. Pauline Kael of The New Yorker calls Godard "the most exciting director working in movies today." On the other hand, Stanley Kauffmann of the New Republic describes him as "a magician who makes elaborate uninspired gestures and then pulls out of the hat precisely nothing...