Word: final
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Dates: during 2000-2000
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...true subject for modern art. Study after study, in dark earth tones, reveals van Gogh's desire to capture the humility and spirit of the common worker. Particularly impressive is the exhibit's collection of van Gogh's studies for his first masterpiece, 'The Potato Eaters' (1885), the final version of which is not included in the show. Van Gogh was upset with the reception of this painting, moved briefly to Antwerp, where his brother Theo introduced him to Delacroix's color theory, and then landed in Paris...
...almost half a gallery to van Gogh's work there, mostly paintings of the countryside in deep purples and dark greens. Images of death resonate in his depictions of reapers and harvests. While the intention of Face to Face is to focus on the portrait, one of his two final self-portraits is lost in the room's attempt to embrace a very intense period. This self-portrait caused van Gogh to allude to his own death, describing himself on the day he painted it as 'thin and pale as a ghost,' but it is barely noticed in the room...
...crucial person in the life of van Gogh and other artists, including Pissaro, so important that the Metropolitan Museum of Art in New York devoted an exhibit to him a few years ago, is noted only by the inclusion of some etchings. Gachet nurtured van Gogh in his final days, but this is somehow overlooked by Face to Face, an exhibit that otherwise does an excellent job of connecting van Gogh's portraits to his personal life...
...which Peterson not only establishes his characters but, more importantly, establishes the life of the Gloucester fishermen. Their precarious economic existence lends much needed dramatic weight to the visually enthralling storm sequence that occupies the bulk of the movie. Indeed, the posters may have been adorned with the mammoth final wave, but the real 'money shot' is the wall engraved with the names of those who died at sea for their trade. Admittedly the film lapses into sentimentality at the end and Peterson never finds a particularly smooth way to shift between the Andrea Gail and the Coast Guard rescue...
...that makes its way into the Loeb Experimental Theatre. The one standout of the season was Stoppard's spy thriller Hapgood. Directed by Nick Parillo '00, Hapgood was a delightfully exhilarating glimpse into the self-aware world of Cold War intelligence. Slickly stylized from the opening montage to the final showdown, this vibrant production possessed the capability of overshadowing the many fine performances; no doubt sensing the challenge, the cast rose far beyond normal undergraduate levels to carry the day. In the title role, Emily Knapp '03 was a divine combination of iron-fisted determination and motherly vulnerability...