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ArtThe year 2006, as with wines, was also a banner vintage in Italy for the visual arts. Florence alone was host to four small but significant exhibitions. Proceeding southward, the fortunate traveler would have found, in the refurbished stables of Rome’s Quirinal Palace, a comprehensive and exciting gathering of Antonello da Messina’s paintings, together with those of some of his contemporaries. Still further south in Naples, the portraiture of Titian was displayed in all its grandeur in the magnificent setting of Capodimonte. But then, Florence-Rome-Naples is the granddaddy of all Italian itineraries. Were our fortunate traveler to have had the curiosity and stamina for a detour east, to Fabriano, he would have been even more richly rewarded. No matter how one approaches this enchanting small town in the hills of the Marches, the landscape flows by, verdant, bucolic, and unspoiled. And were it not for the ra ... 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 25 September 2006, on page 100 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/gentiles-gold-2467
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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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