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...CANALETTO, Metropolitan Museum of Art, New York City. In Canaletto one sees Venice, and vice versa, since the artist's luminous, teeming canvases have for two centuries defined the city's great vistas and waterways in the public imagination. Through...

Author: /time Magazine | Title: Critics' Voices: Dec. 11, 1989 | 12/11/1989 | See Source »

...view of downtown Madrid that is the show's centerpiece took eight years to finish, from 1974 to 1982. Muted and austere, almost palpably grimy and smoggy, it sets forth miles of the dull high-rise architecture of Franco's economic boom with a dedication to truth that surpasses Canaletto...

Author: /time Magazine | Title: Art: The Truth in the Details | 4/21/1986 | See Source »

...horses hanging above them, borrowed from a different estate. The cast list of painters and sculptors, silversmiths, ebenistes and potters is immense, and though there are disappointments--Turner, for instance, is poorly represented --there are also some startling moments. It would be difficult to find a clearer or fresher Canaletto than his view of the Thames from Richmond House, for instance, or a more precocious early Rubens than his enormous, little- known portrait of the Marchesa Caterina Grimaldi from Kingston Lacy, or such a drop-dead showpiece of neoclassical metalwork as John Flaxman's silver- gilt Shield of Achilles, based...

Author: /time Magazine | Title: Art: Brideshead Redecorated | 11/11/1985 | See Source »

...always been a happy hunting ground for purveyors of seagull-and-cable-car kitsch. But Thiebaud's paintings give it a weird, flattened intensity, as though its switchback hills and plunging spaces had been crushed flat against the canvas, in a parody of cubism with overtones of Canaletto...

Author: /time Magazine | Title: Art: A Rich, Feisty Eventfulness | 10/28/1985 | See Source »

...audience is coming to realize what a vacuum has been created by the collapse of drawing instruction in the art schools. One has only to visit the Morgan--or a lesser but still excellent exhibition at the Drawing Center in Soho, of drawings by the Tiepolos, Canova, Pietro Longhi, Canaletto and others lent by the Museo Correr in Venice--to comprehend the general paucity of graphic skills today. The prospect that anyone in the foreseeable future will make drawings to rival these Albertina loans--even the sketchier ones, like Rembrandt's summing-up of a Dutch bridge and canal...

Author: /time Magazine | Title: Art: Emblems of a Lost Tradition | 5/6/1985 | See Source »

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