Word: donatello
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Dates: during 1970-1979
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...future, acting out an existence that is worse than old-fashioned--it is dead. She sparkles beautifully, like a jewelled kinetoscope, cascading through the same wistful images at the drop of a penny-word. Amanda mothers her children, Tom and Laura, with the artifice of a rebel Donatello creating paens to an obsolete god of refinement and good living. Deserted by her husband, "a telephone man who fell in love with long distance," she is a "Christian martyr," a saintly hen, a charming and troublesome relic...
...mildly, post-Freudian. But the innovations of the past 40 years' art-the movements, polemics and epileptic spasms that form the twilight of the avant-garde-have not touched it at all. Against all odds, Balthus paints as though the tradition that runs from Donatello to Courbet had never broken. For that reason alone, any Balthus show compels interest; and the group of 24 paintings and drawings, ranging from 1934 to 1977, that went on view last week at Manhattan's Pierre Matisse Gallery is doubly fascinating, being the first view Americans have had of Balthus' newest...
...sister city" of Florence, Italy, who was initially refused a visa by U.S. authorities because he is a Communist. With the mayor comes a loan of the priceless bronze Boy with a Dolphin by Renaissance Sculptor Andrea del Verrocchio. The Detroiters had thought that they had the loan of Donatello's David locked up-a sure-fire draw for the new Ren Cen-but the Italian culture ministry said...
...priest, who was probably about 80 when the likeness was made. His face is all parchment and bone. The prow of a nose and the jutting underlip have a fierce antique gravity, like Renaissance portrait sculpture-one thinks of the faces of Verrocchio's Colleoni or Donatello's Gattamelata. Every cut of the chisel seems to possess the final, unlabored Tightness of a brush stroke by a master of sumi-e (ink painting). There is probably not a sculpture on view in America this week that gives a clearer impression of the mystery of great portraiture: how realism...
...answer. Cubism was not about cubes, nor Fauvism about wild beasts. When in 1905 an affable critic looked round the Paris Salon d'Automne, which contained an Italianate bust surrounded by the paintings of Henri Matisse and his disciples, he made a wisecrack about "Donatella chez les fauves" (Donatello among the wild beasts), thus giving a short-lived movement a very durable and misleading label. Fauvism was worked out by a small group of artists over a span of three years; it was dead by 1907. It could coarsely be defined as what Matisse and France's Midi...