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Ongoing through February 23. “Oil Paintings?? by Judy Lieberman and “Textiles” by Melodye Wehrung. Open weekdays only. Harvard Neighbors Gallery, 17 Quincy St., Loeb House, side entrance. Call (617) 495-4313 for hours...
...that this movie is going to work. While the film has its merits, it falls flat on most fronts. In addition to having fairly poor production value—the bulk of the “stunning” Parisian backdrops are clearly matte paintings??the movie’s three primary characters never achieve humanity; they start out as and remain types. Gilda is the extroverted and rambunctious bohemian socialite, Guy is the wide-eyed British schoolboy with a conscience, and Mia is the long-suffering martyr who has made it through the school of hard knocks...
...grounds that epitomize their respective eras and locales. It would be a tragedy—not just to Renaissance scholars, but to human culture—to let them tarnish. Though the occasional guided tour may be the closest most people will get to Berenson’s paintings??a regrettable decision, but one necessary to keep the fragile art and books safe—the Villa frequently funds top-notch restorations of the canvases on its walls. These paintings one day will be important for a researcher and may wind up in a museum. In a similar...
...helped make the small changes, including fiberglass curtains and olive-green fabric wall covering, that would give the room the somber qualities in which he preferred his work to be seen. By contrast, the room’s north and south walls were lined with windows that illuminated the paintings??and ultimately served as their downfall...
Although this does not indicate that Rothko was careless about the colors he used—the studies for the murals located at the Mongan Center indicate that he was definitely concerned with the relationships between the colors in these paintings??they do represent a departure from his traditional forms. As such, these paintings remain significant to modern art despite the fading and damage they have sustained...