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Topic - Thomas Eakins
One of the great art patrons of the 20th century who built the nation's first modern art museum in Washington is offering a broad new look at the evolution of American art through a collector's eye beginning 100 years ago.
Reading reviews of art exhibitions in distant metropolises can evoke envy for pleasures and excitements that are impossible to share because the locations are too far away. So a collection of exhibition reviews could seem frustrating rather than enticing, especially when the once-assembled pictures have returned to their homes. But it's excitement rather than frustration that seizes the reader of "Always Looking: Essays on Art" by the late John Updike because these reviews are so intelligent, well-informed and beautifully written.
On the morning of Nov. 22, 1963, President John F. Kennedy and first lady Jacqueline Kennedy realized that their Fort Worth hotel suite featured an extraordinary array of artwork _ from a painting by Vincent van Gogh to a bronze by Pablo Picasso.
If Louis Auchincloss' forebears rolled over in their manicured graves when his novels came out, they can stop worrying now that his posthumous memoir has appeared. The most shocking outrage herein happened to the author himself, at boarding school.
The Smithsonian Institution's governing board on Monday called for changes in how potentially objectionable exhibits are handled while also standing behind the head of the museum complex amid accusations of censorship.
He said there was also a "good mix" _ ranging from the abstract expressionist oil on paper "Study for Accent Grave" by Franz Kline to Charles M. Russell's western-inspired "Lost in a Snowstorm - We are Friends" to Maurice Prendergast's post-impressionist oil painting "Summer Day in the Park."
He told their stories in paragraphs as silken as the lapels of their Abercrombie tuxedos, with jibes as sharp as hatpins and turns of plot as piquant as onions in a Gibson cocktail.