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...Susanna Fourment, a likeness breathed onto the paper with lyric, impalpable precision in three schematic chalks (white, black and sanguine), conveying the fullest sense of Rubens' appetite for character studies delicately balanced between intimacy and formality. Viewing such work, one realizes that there is no Rubens (or Durer, or Mantegna, or Watteau) of / the late 20th century; what we see here are emblems of a tradition that ended, except for footnotes, with Picasso...

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

...greatest coup was in 1796, when he received 371 sheets by Durer in a transfer from the imperial court library in Vienna. Not all were genuine, and scores were lost by theft during his lifetime, thanks to a corrupt employee who sold them to dealers, but the Albertina collection today is to Durer what the royal collection at Windsor is to Leonardo...

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

...Durer loans to this show include his most famous drawing, the Praying Hands, and another study for the same lost altarpiece, a Head of an Apostle (1508), which, Koschatzky notes, is "among the best examples of the art of drawing." This is an understatement, if anything. It takes the eye a while to realize that each line in this drawing, though given the incisiveness and spring of a mark etched with a point, seemingly carved into the paper, is in fact done with the tip of a brush; the delicate gradations of cross-hatching, which do not merely record patches...

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

Works by Raphael, Rembrandt, Degas, Durer, Da Vinci, Holbem , Redon, Cellini, Seural, and Picasso are also included in the show...

Author: NO WRITER ATTRIBUTED | Title: Vasari Exhibit Makes Debut | 2/6/1985 | 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 »

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