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Vein glorious: an epic history of marble, reviewed
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TEN years ago, this week, a rower who had journeyed across the Atlantic Ocean in record time stunned his teammates by proposing to his waiting girlfriend. Durham University graduate Chris Covey kept his proposal a secret for over a month from his five fellow rowers as they battled the waves. But on their arrival in Barbados, he went down on one knee on the dockside to ask girlfriend Susie Easton to marry him, and the stunned teacher whispered “I do” before bursting into tears. The oars on board Team Hallin did not stop rowing from their Tenerife departure until their revolutionary trimaran vessel passed the finishing line.
Nicholas Penny
Worries that have reached my ears from within museums, and from fellow members of the public who are most keen to visit them, relate to the current exhibition programme. Such worries reflect the pre-eminence of exhibitions in the experience of art today. Exhibitions are what critics are waiting for, what curators are most likely to be working on, and what most occupies the registrar, the press office, the shop, the restaurant and the development team. Exhibitions are what the trustees notice most. The success of a director is most commonly measured by their popularity. Moreover, exhibitions are crucial for supporters and, of course, for sponsors. To yearn, as I often do, for the time when the primary focus of a museum was its permanent collection is as futile as lamenting our dependence upon the family car. The future lies with a different type of exhibition, just as it will involve a different type of car.
The Climbers, 1510. Engraving on laid paper. Sheet 284 x 224 mm. Sold for £4,750 on 14 December 2017 at Christie’s in London
Raimondi was also skilled enough to combine different sources in one print, as he did with The Climbers (above): a landscape copied from Lucas van Leyden, in which he set three male nudes lifted from the cartoon for Michelangelo’s never-realised fresco,
The Battle of Cascina.
By around 1510, Raimondi had settled in Rome. It was there that he struck up one of the greatest artistic double-acts of the Renaissance: with Raphael.
Giorgio Vasari thought Raimondi worthy of a whole chapter in his book,
Het mooiste vraagteken ooit geschilderd – De Groene Amsterdammer
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