The New Criterion
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For admirers of Gian Lorenzo Bernini (1598–1680), or even of sculpture generally, the collection of fifteen of his terracotta sketches in the Fogg Art Museum has long been a pilgrimage point to glean a deeper insight into his genius, or simply a straightforward Bernini fix. If the essence of his marbles is their jaw-dropping illusionism—their ability to simulate wind-blown hair, soft flesh, even tears—what distinguishes these preparatory works is their imm ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 31 December 2012, on page 36 Copyright © 2013 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Bernini-s-feats-of-clay-7501
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by Eric Gibson On "Richard Serra Drawing: A Retrospective" at the Metropolitan Museum of Art, New York. by Eric Gibson On “Henry Moore," originally on view at Tate Britain currently on view at Art Gallery of Ontario, in reduced form and retitled as “The Shape of Anxiety: Henry Moore in the 1930s.” The great famine before China's Cultural Revolution killed millions. Yang Jisheng took it upon himself to make sure the world knew about it. by Charles Hill He was an eighteenth-century Irish statesman, but Edmund Burke still has plenty to say today. Reinhold Niebuhr was a public intellectual and a theologian who still has a deep influence on both the right and the left.
Webcasts
Poet George Green reads from his award-winning Lord Byron's Foot
Celebration of the Life of Robert H. Bork, 1927–2012
James Panero on price gouging at the Met, with Fred Dicker Weblog 
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