The street with Francesco Borromini’s marvelous façade is called Via di Propaganda; learning its history reveals the complex relationship between art and indoctrination.
We could call this exhibition a battle of the swaggerers.
Life Lines: Portrait Drawings from Dürer to Picasso at the Morgan Library & Museum may not venture very far beyond canonical European artists, but it uncovers richness and diversity within a circumscribed field, especially in the work of its two anchors, Albrecht Dürer and Pablo Picasso.
In advance of soccer teams Feyenoord and AS Roma facing off again tonight, the Dutch Senate has said that its government should pay for the restoration of the Bernini fountain damaged by Feyenoord fans in Rome last week.
Dutch soccer fans wreaked havoc on Rome over the past two days, damaging a 17th-century fountain designed by Bernini and leaving the city’s historic center strewn with trash.
After a plate of lukewarm gemelli in the Metropolitan Museum cafeteria, an out-of-town friend and I wandered haphazardly into the lower level of the Lehman wing, where the exhibition Bernini: Sculpting in Clay has been in residence since early October. The show, which consists primarily of terra-cotta studies and drawings that Gian Lorenzo Bernini (1598–1680) made for his Baroque marble extravaganzas, wasn’t at the top of my list, especially on a Friday night with an hour left to go before the museum closed, and especially after reading The New York Times review by Ken Johnson, who called it “an important exhibition, insofar as it establishes a scholarly baseline for the study of Bernini terra-cotta work.” Not exactly a line that quickened the pulse.