Posts Tagged ‘Rembrandt’

Aristotle with a Bust of Home

With gold velvet drapery as backdrop, the newly acquired Rembrandt, “Aristotle Contemplating the Bust of Homer,” stood on an easel in the foyer of New York’s Metropolitan Museum of Art. Spotlights accentuated the golden glow of the painting’s surface. As I gazed, I felt a resonance with the feelings of the person depicted, my thoughts drawn into his as if into a dizzying vortex. I was astounded that brushstrokes and pigment could have such power to move me.

I had not seen great art before, except in books of reproductions. I had devoured the collection of large format books in my high school art room, and spent hours browsing the art section of secondhand book shops when I was in college. When we left New Zealand in 1962, Tony and I had as a priority to visit art museums and see the work of artists we admired. But nothing had prepared us for being in the presence of the real thing. Upstairs at the Metropolitan Museum of Art we found a whole room of Rembrandts. Dancing down a broad staircase, a whole series of bronze sculptures by Edgar Degas. We saw so many great works we discovered the phenomenon we named “mental indigestion” and wished we had more time in the city so that we could come back. We knew it would take weeks, months even, to absorb all this museum had to offer.

Dancer by Degas

We visited other art museums during this stopover in New York on our way to England. Some we loved, some less so. In a letter to parents I wrote: “Sunday afternoon we went out to The Cloisters, which is right up at the northern tip of Manhattan. This is a religious museum. Parts of the remains of many old churches of Europe have been brought across and incorporated into the present structure, which keeps as closely as possible to the original styles. In a sense it is a success – some of the old fragments of stonework are very fine, and there are some very fine paintings, altar ornaments, and some magnificent tapestries – the highlight of the whole exhibition. But in spite of their attempts to reproduce chapels, all sense of reverence has been lost – the things are a curiousity for the locals to gawp at, and even sacrilegious.”

As I look back on these youthful letters and these memories, I see opinions about what matters to me already forming and clarifying. Many more experiences of the power of art would come in future years: sitting on a bench in a crowded London gallery, weeping over Georges Rouault’s “The Old King;” gazing in awe at the rose window in Chartres Cathedral;  feeling the silence of the Blue Mosque in Istanbul. Always, enriching these experiences, the memory of that stunning awakening in New York.