Download 100 European Drawings in The Metropolitan Museum of Art by Jacob Bean PDF

By Jacob Bean

The accumulating of drawings was once lengthy the province of artists themselves. The Florentine Vasari shaped one of many first widespread and systematic collections of drawings, and his instance was once through Rembrandt, Rubens, Lely, Reynolds, and Lawrence. nice ecu museums—the Uffizi, the Louvre, the Berlin Museum, and the British Museum—have outdated and significant collections of drawings. In the United States public curiosity in drawings is a reasonably contemporary improvement our public collections have brief histories. That of the Metropolitan Museum is likely one of the oldest within the nation, and this can be as a result foresight of Cornelius Vanderbilt.

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Conversely, Barton emphasised Portia's plight even more strongly, to the extent of dressing her in her father's coat to suggest her grieffor his loss and having her symbolically roped and covered in a kind of sacrificial cloak for the casket scenes. Both Jack Gold's television production and John Caird's for the RSC set the play in Renaissance Italy. In keeping with Jonathan Miller's policy as producer of the BBC series, Gold's production does not for the most part attempt a realistic set. Instead Venice is represented by columns, an archway, a bridge, all quite spare and abstract - the columns do not support anything.

Neither he nor Portia welcomes Jessica. It takes Gratiano, of all people, 17 lines after the entry, to notice her: 'Nerissa, cheer yond stranger; bid her welcome' [III ii 237]. In what follows Jessica has a single speech, in which she emphasises her father's hatred for Antonio [284-90]. This may be a sad attempt at affirming whose side she is on and so attracting the welcome and support she has not won. ' [291]. Similarly, Portia has very little to say to Jessica when they meet again in III iv and v i.

18). Barton's 1978 production, like Jonathan Miller's, scarcely differentiated between Venice and Belmont. Both were harsh, even melancholy places, though at the end of Barton's productions the mood changed to hard-won,joyful celebration. Unlike Miller, however, Barton treated the test of the suitors seriously. Neither Morocco nor Arragon was a figure of fun, and Portia had every reason to fear both that they might choose right and that Bassanio might choose wrong. Several critics commented on the intensity of the moments before Bassanio's choice.

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