Rembrandt and Turner - Lucie-Smith, Edward
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The Rembrandt and Turner exhibitions, one at London's National Gallery, the other at Tate Britain, are populist homages to two of the undoubted giants of the European cultural tradition. They do not attempt complete surveys. Instead they seek to found themselves on a now well-established but in fact comparatively recent myth: that of a 'late style', wherein a great artist, nearing the end of his life, somehow transcends all the works he has made previously. Titian and Michelangelo have also been the subjects of the same kind of mythologisation. The facts are, of course, that neither Rembrandt…mehr

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Produktbeschreibung
The Rembrandt and Turner exhibitions, one at London's National Gallery, the other at Tate Britain, are populist homages to two of the undoubted giants of the European cultural tradition. They do not attempt complete surveys. Instead they seek to found themselves on a now well-established but in fact comparatively recent myth: that of a 'late style', wherein a great artist, nearing the end of his life, somehow transcends all the works he has made previously. Titian and Michelangelo have also been the subjects of the same kind of mythologisation. The facts are, of course, that neither Rembrandt nor Turner attained a very great age by 21st century standards. The Rembrandt show covers the artist's last decade-and-half, roughly speaking from the time when he went bankrupt in 1656 to his death in October 1669, aged 63. Turner had a longer life, but the show at Tate Britain covers about the same amount of ground - from 1835, when the artist was sixty, until his death in 1851, aged 76. The idea of the 'late style', as a very special, magical phase in the evolution of the work of a great artist, is, as I have just said, a comparatively modern invention.
Autorenporträt
Edward Lucie-Smith was born in 1933 at Kingston, Jamaica. He moved to Britain in 1946, and was educated at King's School, Canterbury and Merton College, Oxford, where he read History. Subsequently he was an Education Officer in the R.A.F., then worked in advertising for ten years before becoming a freelance author. He is now an internationally known art critic and historian, who is also a published poet (winner of the John Llewellyn Rhys Memorial Prize), an anthologist and a practicing photographer. He has published more than a hundred books in all, including a biography of Joan of Arc (recently republished by Penguin in paperback as a 'classic biography'), a historical novel, and more than sixty books about art, chiefly but not exclusively about contemporary work. A number of his art books, among them Movements in Art since 1945 , Visual Arts of the 20th Century, A Dictionary of Art Terms and Art Today are used as standard texts throughout the world. Movements in Art since 1945, first published in 1969, has been continuously in print since that date. He has been curator of a number of exhibitions, including three Peter Moores Projects at the Walker Art Gallery Liverpool, (surveys of contemporary British art), The New British Painting (which toured US venues in 1988-90) and two artist retrospectives, Lin Emery and George Dunbar, both for the New Orleans Museum of Art. He has been a jury member for the John Moores prize exhibition in Liverpool, and for biennials in Cairo, Sharjah, Alexandria and Belgrade. He was curator of 'New British Art'. at the Orion Gallery in Ostend (April-June 2001), of 'New Classicism: Artists of the Ideal', at Palazzo Forti, Verona (AprilSeptember 2002), and of 'Gods Becoming Men' at the Frissiras Museum, Athens [July-September 2004).