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ArtNovember 2007 Dutch treat by Marco Grassi On "The Age of Rembrant: Dutch Painting in the Metropolitan Museum of Art" at the Metropolitan Museum of Art, New York. In his recent vademecum to the Metropolitan Museum’s current Rembrandt exhibition, The New York Times critic Holland Cotter opened with this statement: “‘The Age of Rembrandt: Dutch Painting in the Metropolitan Museum of Art’ is a straightforward title for a complicated show.”[1] It could be argued that precisely the opposite is true. Whereas the title of the show would require several further qualifying sentences to be reasonably accurate, the show is simplicity itself: essentially a hanging of the near-total inventory of the museum’s holdings in this important area of European painting. A curator could ask for nothing easier. As to the title, identifying an entire school, spanning over a century, with the name of its most important and renowned exponent says almost nothing about the temporal, geographic, intellectual, and stylistic ingred ... 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 26 November 2007, on page 56 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Dutch-treat-3683
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by Karen Wilkin On “Rembrandt and Degas: Two Young Artists” at the Sterling and Francine Clark Art Institute, Williamstown, MA. On "New Formations: Czech Avant-Garde Art & Modern Glass from the Roy and Mary Cullen Collection” at the Museum of Fine Arts, Houston. On “Ai Weiwei: Dropping the Urn, Ceramic Work 5000 B.C.–A.D. 2010” at the Victoria & Albert Museum, London & “The Flamboyant Mr. Chinnery: An English Artist in India and China” at Asia House, London.
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