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Most museum exhibits specialize in product. Visitors want to see the telephone Bell invented, not the goofs and failures that came before. They are interested in the paintings artists create, not--with the rare exception of a Leonardo da Vinci--in the sketches discarded in the process. Viewers want to see polished statues and coronation gowns, not chips of marbk or a seamstress's needle and thread...

Author: NO WRITER ATTRIBUTED | Title: Tribute to a Process, Not an End | 2/4/1981 | See Source »

Caldwell is willing to sacrifice some of the Shakespeare text for pageantry and graphic effects. The guests at the feast where Banquo's ghost appears are seated on one side of a long refectory table resembling the one in Da Vinci's The Last Supper, thus carrying resonances of sacrilege...

Author: /time Magazine | Title: Theater: Power and Lust | 2/2/1981 | See Source »

There was a time when the 33,000-ton passenger liner Leonardo da Vinci was one of the Italian Line's gems. Last week, after the ship had sat idle for two years in the port of La Spezia, fire broke out on board; when the flames were doused four days later, the Leonardo had leaned over on its starboard side and settled in 40 ft. of water in the port's main channel...

Author: /time Magazine | Title: World: A Da Vinci Lost | 7/21/1980 | See Source »

...19th century spanned the greatest watershed in the history of Western painting. At its beginning, masters like David and Ingres were producing canvases that Da Vinci or Titian, Botticelh or Durer could have seen without shock, even with admiration, recognizing them as descendants of their own styles. But the work of the painters at century's end­Monet's broken colors, Van Gogh's unabashed brushstrokes, Cezanne's blocky forms­they would have regarded with stunned astonishment, perhaps even outrage...

Author: /time Magazine | Title: Art: The Met's New Galleries | 4/14/1980 | See Source »

...antique prototypes were the Marcus Aurelius, an equestrian statue in Pavia called the Re-gisole (long since destroyed) and the San Marco group. Almost all the major artists of the Renaissance, from Pisanello in the 15th century to Giambologna in the 16th, consulted the Venice horses; when Leonardo da Vinci was faced with the problem of designing a horseback monument to the Milanese warrior Gian Giacomo Trivulzio, he took them as his starting point, varying their massive poses and calm, advancing gait in numerous drawings, five exquisite examples of which are in the Met show. Only when the 17th century...

Author: /time Magazine | Title: Art: Thoroughbreds from Venice | 3/10/1980 | See Source »

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