Word: visione
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Dates: during 1950-1959
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...entire Boston Arts Center is the result of the vision and collaboration of four enterprising men: Perry T. Rathbone '33, Director of the Museum of Fine Arts; William Morris Hunt '36, Executive Producer of the Cambridge Drama Festival; Nelson W. Aldrich '34, Chairman of the Board, Boston Arts Festival: and Jerome M. Rosenfeld, President of Jerome Press Publications...
...withdrawn $35,000 a year from its contribution to the museum's maintenance and operation costs. From Tuesday through Sunday this week, the Met proudly displayed its latest major acquisition, proving that it suffers no lack of purchase funds. The well-nigh priceless St. John's Vision (see color), by El Greco, was bought from the estate of Spanish Painter-Collector Ignacio Zuloaga. And although Director James Rorimer kept the price to himself, he called the canvas one of the 20 most important purchases in the Metropolitan's history...
...Metropolitan's seventh El Greco. Most famous among the other six are the magnificent Portrait of Cardinal Nino de Guevara and the unique View of Toledo. The Cardinal keeps all the bloom of the painter's passion, but Toledo has suffered and so has the fabulous new Vision. One New York critic complained that the Metropolitan's restorers had understood "El Greco in terms of 20th century expressionism...
...clearly the carrot that made men trot, as money was later singled out by Balzac, and sex by Freud. Yet, in obsessively concentrating on one human trait, as Author-Critic Louis Kronenberger points out in his new translation of the Maxims (Random House; $3.50), La Rochefoucauld narrowed his vision. Indeed, some of the maxims are strangely naive and platitudinous, suggesting once again that cynicism is sentimentality in reverse-and that, perhaps, the sheltered courtier could have learned from the crude common sense of the peasant. Yet at his best, as Kronenberger puts it, "La Rochefoucauld, in his way, has peered...
...exaggerating his importance. To Rovere himself. McCarthy remains "in many ways the most gifted demagogue" in U.S. history, with a terribly sure "access to the dark places of the American mind." But he was no totalitarian, not even a reactionary; he was a nihilist, "a revolutionist without any revolutionary vision." Anything but a conformist, he attacked the Army, the Protestant clergy, the press, the two major parties. He was, says Rovere, ''closer to the hipster than to the Organization...