My father sent me this review of Look Again: European Paintings 1300–1800, which is the name the Metropolitan Museum of Art has given to its pre-1800 European Paintings galleries now that they’ve reopened after being closed for five years.
This is the best thing I've read about the new galleries, really well-observed. I've twice done a sort of forced-march-for-first-impressions through them after seeing the Manet show and the Barbaro Family was what stood out to me the most as well.
I should go see them Friday and post another comment here to see if I agree with you.
A brilliant idea for a Substack, and I've thoroughly enjoyed what I've read so far. Keep these long, keep them full of links and photos, please. Funnily enough, I've just written some sentences about how MoMA really screws over the artworks in its Surrealism gallery having the Matisse room adjoin it—when The Red Studio is on display, anyway. The Surrealist stuff, much of which I admire, seems so silly and try-hard in retrospect when you turn the corner and get walloped by The Red Studio. A request: Would you write 1k words sometime about why The Harvesters does it for you?
Thank you! I'm glad you like the length, it seems right to me too, more than this would be asking too much from readers, and less would feel thin. A thousand words on the Bruegel sounds like a good idea, I'll keep it in the back of my mind for a while and maybe write in June or July. Also, funny, the way I've been going through MoMA I've entered the Matisse room from the other side and then retraced my steps, so it didn't register that Surrealists are through the far doorway...and now I'm wondering, what wouldn't seem feeble compared to the Red Studio?
A labor of love, for sure. I agree with most of it, except I don't respond to the Breughel the same way you do. In fact, I couldn't pick the best painting in the hemisphere because most of my great loves are across the pond, like Ribera's Purissima in Salamanca.
I was distressed when I was unable to locate the Riberas & since it's been a while since I was there, when I go back, I will probably have the same problem. The guards had no idea.
I think inserting modern/contemporary paintings, although I like most of the selections, is gimicky, the latest thing.
Is the Met inserting Old Masters into their modern/contemporary wings (okay, now closed but before)? Or for that matter, in any of the other galleries?
I can't remember ever seeing that.
I love your writing style, your voice. It invites me to respond to your comments. It's why I enjoy spending time with you, to hear your particular perspectives, especially on art.
I'm also impressed with your knowledge. I tend to forget a lot of what I learn if I'm not using it.
This is the best thing I've read about the new galleries, really well-observed. I've twice done a sort of forced-march-for-first-impressions through them after seeing the Manet show and the Barbaro Family was what stood out to me the most as well.
I should go see them Friday and post another comment here to see if I agree with you.
thank you! glad to hear agree on the Tiepolo and yes, please add more impressions after you go again
A brilliant idea for a Substack, and I've thoroughly enjoyed what I've read so far. Keep these long, keep them full of links and photos, please. Funnily enough, I've just written some sentences about how MoMA really screws over the artworks in its Surrealism gallery having the Matisse room adjoin it—when The Red Studio is on display, anyway. The Surrealist stuff, much of which I admire, seems so silly and try-hard in retrospect when you turn the corner and get walloped by The Red Studio. A request: Would you write 1k words sometime about why The Harvesters does it for you?
Thank you! I'm glad you like the length, it seems right to me too, more than this would be asking too much from readers, and less would feel thin. A thousand words on the Bruegel sounds like a good idea, I'll keep it in the back of my mind for a while and maybe write in June or July. Also, funny, the way I've been going through MoMA I've entered the Matisse room from the other side and then retraced my steps, so it didn't register that Surrealists are through the far doorway...and now I'm wondering, what wouldn't seem feeble compared to the Red Studio?
A labor of love, for sure. I agree with most of it, except I don't respond to the Breughel the same way you do. In fact, I couldn't pick the best painting in the hemisphere because most of my great loves are across the pond, like Ribera's Purissima in Salamanca.
I was distressed when I was unable to locate the Riberas & since it's been a while since I was there, when I go back, I will probably have the same problem. The guards had no idea.
I think inserting modern/contemporary paintings, although I like most of the selections, is gimicky, the latest thing.
Is the Met inserting Old Masters into their modern/contemporary wings (okay, now closed but before)? Or for that matter, in any of the other galleries?
I can't remember ever seeing that.
I love your writing style, your voice. It invites me to respond to your comments. It's why I enjoy spending time with you, to hear your particular perspectives, especially on art.
I'm also impressed with your knowledge. I tend to forget a lot of what I learn if I'm not using it.
Keep writing.