Word: cherubim
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Dates: during 1950-1959
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...tradition of Western Europe. At one level their conversion of Renaissance ideals into an academic package of rules and theories merely opened the door wide to the host of imitators that to this day grinds out tearful madonnas or resurrected Christs borne heavenward by muscular angels and simpering cherubim. But their virtuoso talents, turning back from the feverish mental imagery of the mannerists, also served as a transmission belt between the Renaissance and the three new paths Western art was to follow in the next two centuries. The ennobling gestures and grand manner were picked up by Rubens when...
...disease was well advanced when Aleijadinho was given the commission that became his crowning life's work, decorating the Church of Bom Jesus do Matosinhos. For the stairway he chose as his subject not the curved elegance of cherubim and seraphim that had made him famous, but stern Old Testament prophets. In them he found a wrath. compassion and inspiration that matched his own. He sculpted their squat figures in bizarre oriental costumes, twisted and tormented in soapstone (which is soft when quarried, grows hard with age). Before the last one was finished, in 1805, Aleijadinho was working with...
...moment she walked on stage as Mimi in Puccini's La Bohème. She reminded one critic of Italy's "gorgeous-looking, immensely skillful actresses," surprised everyone when her warm singing and touching performance equaled her looks. In her second opera, a sunny revival of Cherubim's The Portuguese Inn, the San Francisco Chronicle's Alfred Frankenstein called her "the very incarnation of youthful feminine grace and vivacity." Even before she had appeared in her other roles (in Mozart's Marriage of Figaro, Massenet's Manon), the San Francisco Opera decided to invite...
...refusing mercy to a kneeling headmaster) and a touch of defeatism. On the subject of how to get out of divinity instruction, for instance. Molesworth says: "You could try being let down into the class dressed as an angel. You then sa to the master Lo who are these cherubim and seraphim who are continually crying. He repli Form 3 B. You then sa Lo they are not angles but angels with the xception of peason who hav a face like a baboon. You must dismiss them and the master oba." But after this fine start, the plotter adds dispiritedly...
...reactions of Venice's art lovers ranged all the way from bewilderment to outright anger. "Art is a religion," growled 85-year-old Giuseppe Cherubim, dean of Venetian painters. "If it were up to me, I would do as Christ did when he kicked the profaners out of the temple. These paintings are made with water and idle talk." But idle or not, spatialism was the talk of Venice. During the first week, 4.000 crushed in for a look at the atomic fireballs and glowing pinholes...