cerebral in his approach. Yet he has a passionate love of art.
We are both fascinated with how one should look at a painting. Why does a painting at first blush seem ridiculous (Twombly? Cézanne?), but then, after the brew of looking and looking again, appears magical, with an insight that reveals a bubbling, invigorating sensitivity? Art is a vital thing that forces introspection. That’s not such a bad thing for a lawyer or for you, the reader.
Question: Is Rothko better than Matisse? Is a Modigliani nude sexier than Renoir’s clothed Odalisque ? How is it that the foundation of modern art lay in the minds of three troubled artists — Van Gogh, Gauguin, and Cézanne? These are questions art asks of us, the viewer, as it invites us to engage. Coming up with the answers takes a lifetime.
For older art, is there any better place in the world than New York’s Frick? For the gentler placing of modern art in Washington’s embassy district, can anything top the “ambiance” of the Phillips Gallery?
Our styles are different, our eyes are different, and our favourite periods of art are different. But with our two views we hope to give you a glimpse of the best art in public museums in North America.
A number of the paintings in this book are reproduced in black and white. They are wonderful “also sees” in the gallery but are not included in the actual total of 149.
You owe these paintings a disciplined look. It took the artist time and genius to produce the work, so give something in return. If we’re wrong in our conclusion on one painting, we ask that you indulge us and move on to the next.
Welcome to the sweetness of revelation!
As George Bernard Shaw once said, “I believe in Michelangelo, Velasquez, and Rembrandt; in the might of design, the mystery of colour, the redemption of all things by Beauty everlasting, and the message of Art that has made these hands blessed. Amen. Amen.”
Julian Porter
Stephen Grant
Chapter 1
Boston, Massachusetts
Isabella Stewart Gardner Museum
Isabella Gardner was a fascinating character. When she was exposed to the art and architecture in Venice, Paris, and the rest of Europe, she fell in love with it. She had a refreshing ability to study all cultures. She had energy with a capital “E.”
Her husband was wealthy and so she could buy many of the great works she loved. Bernard Berenson, the great artistic guru and acquirer, scouted Europe for her. Once she had acquired a substantial collection, she decided that a museum was needed to house it. She herself supervised the building of the Gardner Museum, following it brick by brick. She stood over the stonemasons, plasterers, and carpenters. She came up with the idea of an internal courtyard touched with Tiepolo pink. She bought all the arches, pillars, railings, columns, and sculptures, and applied them to the walls and filled the courtyard. It was all her own scheme.
The result is a building with a Venetian courtyard suffused with plants, framed by Venetian windows, arches, balustrades, and loggias. On the grounds, there are Roman statuary, sarcophagi, and a cloister walk with Romanesque figures and leafy capitols on top of the cloister columns.
This is an eccentric collection, but how lucky Boston is to have it.
1. The Presentation of the Christ Child in the Temple (c. 1320)
Giotto (Giotto di Bondone) (1267–1337)
Giotto (Giotto di Bondone), The Presentation of the Christ Child in the Temple, c. 1320
Tempera and gold on wood, 35.2 x 43.6 cm
Purchase, 1900 (P30w9)
Isabella Stewart Gardner Museum, Boston
Photo credit: Isabella Stewart Gardner Museum / Bridgeman Images
How rare to be able to sit in a chair right next to a small Giotto, done in about 1320. I’ve never been able to do this except in the eccentric Gardner mansion’s elegant curio setting. There it is, 18 in x 12 in, all gold backdrop on a small side table. It’s fun to be so snug with the beginning of the Renaissance.
Giotto propelled Western art beyond the gold stylized figures that were more ornaments than people. With Giotto, the human figure developed a solidity and a personality.
Here it is, all at once, a little squiggly Christ pulling Simeon’s beard (see Luke 2:27–38, a devout man yearning for a saviour of Israel), yet straining with a child’s telltale reach for his mother. Anna sits like a prophetess on the right, old, haggard, grey of face, accentuated by a green-yellow gown — the pain of age. Behind the Virgin Mother is Joseph, eyeing it all with intensity and focus, the carpenter’s eye.
In the middle of the altar, a hanging vestment, all white, a patterned abstract, taking up a large space. This is the most modern abstract painting possible — lines, tiny squares, and white. Not far from this to Rothko.
This would have been part of a larger altar piece.
Giotto created wonderful art but he himself was not a pretty man. Neither, it seems, were any of his eight children attractive. When Dante first saw the children’s faces, he said, “My friend, you make such handsome figures for others — why do you make such plain ones for yourself?”
Giotto responded, “I paint by day but I procreate at night in the dark.”
JP
2. El Jaleo (The Ruckus) (1882)
John Singer Sargent (1856–1925)
John Singer Sargent, El Jaleo (The Ruckus), 1882
Oil on canvas, 232 x 348 cm
Gift from T. Jefferson Coolidge, 1914 (P7s1)
Isabella Stewart Gardner Museum, Boston
Photo credit: Isabella Stewart Gardner Museum / Bridgeman Images
Isabella Gardner coveted Sargent’s El Jaleo .
Painted in 1882, shortly after the premiere of Bizet’s Carmen of 1875, which tells the story of a proud gypsy woman torn between an army officer and a toreador. The painting shows a gypsy dancer by herself in front of a musical band. It was first exhibited with the title Dance of the Gypsies.
The setting for this painting obsessed Isabella Gardner. In the end, she set it behind a Moorish arch, so you see it as if it were a performance on a lighted stage — the setting is theatrical in effect. She placed a mirror to the left, slightly angled, but set so it repeats the image. It is difficult to describe what this mirror does, but I think it creates a sense of motion, lightens the picture, and accentuates three dimensions. The frame is perhaps narrower on the bottom than the top. It appears that way and yet you’re not sure. You sit on an ancient stone ledge before blue tiles behind Mexican wall tile and your eye runs to the cement under the painting, the identical colour of the floor at the bottom of
