Word: rembrandt
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Dates: during 1970-1979
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Among 17th century masters Rembrandt is matchless...
Young prodigies in art are as common as seagulls; the rarities are old. A special aura clings to the late works of old men who can sum up a lifetime's deposit of knowledge in a final burst of invention. One thinks of Rembrandt's late self-portraits, of Titian at 90 or Bernini at 75; or, in our century, of Henri Matisse, who died in 1954 at the age of 85. The last two decades of his life were increasingly spent on making works in paper. Ensconced in the south of France, first at Nice and later...
...Peter Paul Rubens, one of the five grand masters of 17th century painting-the others, by general consent, being Caravaggio, Rembrandt, Velasquez and Poussin-was born 400 years ago this summer, on June 28, 1577. This birthday has raised memorial exhibitions all over Europe. No anniversary of a comparably great figure could launch so many shows, because Rubens was so prolific. A thousand or so paintings, more than 2,000 drawings, sown from Leningrad to Washington: Rubens was the grand inseminator of the Baroque, a monster of controlled fecundity, erudition and discipline. The biggest Rubens show, the text to which...
...part of its 50th Anniversary celebration, Harvard's own Fogg is displaying 150 of its rarest paintings, including works by Rembrandt, Botticelli, Monet, Degas, Picasso and Pollock. The chief complaint of Fogg officials is that they don't have enough gallery space to accommodate their ever-growing collection of acquisitions and their plight is illustrated in this slightly cluttered exhibition. But too much of a good thing hasn't proved fatal to any Fogg-goers lately, so pause on Quincy St. and gaze for a while at the Fogg's proudest possessions. Summer hours...
...marvel, the rooms of the exhibit each open to show another artistic entity, another group of--yes, again--masterpieces. Unlike Russian dolls, however, these paintings demand individual recognition. Old favorites compete for attention: Ingres's Odalisque a l'Esclave, Degas's Cotton Merchants, David's Portrait of Sieyes, Rembrandt's Head of Christ, Rubens's Quo Ego, Poussins's Holy Family...these call insistently for the observers to immerse themselves in the world set up by the painting, to enter, look, note and depart. No one observant could refuse them. But there are new discoveries here, too--and they...