Honoring the World Trade Center - 9/11/2001 - 9/11/2022

The WTC in a mud-puddle,1974, taken from West Street before the building of the West Side Highway. © Paula Barr & Artists Rights Society (ARSNY).

The original World Trade Center (WTC) was a large complex of seven buildings in the Financial District of Lower Manhattan in New York City. It opened on April 4, 1973, and was destroyed in 2001 during the September 11 attacks. At the time of their completion, the Twin Towers—the original 1 World Trade Center (the North Tower) at 1,368 feet (417 m); and 2 World Trade Center (the South Tower) at 1,362 feet (415.1 m)—were the tallest buildings in the world. 

The core complex was built between 1966 and 1975, at a cost of $400 million (equivalent to $3.56 billion in 2022).  The idea was suggested by David Rockefeller to help stimulate urban renewal in Lower Manhattan, and his brother Nelson signed the legislation to build it.  The buildings at the complex were designed by Minoru Yamasaki. In 1998, the Port Authority of New York and New Jersey decided to privatize it by leasing the buildings to a private company to manage. It awarded the lease to Silverstein Properties in July 2001.  During its existence, the World Trade Center symbolized globalization and the economic power of America. The Twin Towers became an icon of New York City.  It had a major role in popular culture, and according to one estimate was depicted in 472 films. Following the September 11 attacks, mentions of the complex in various media were altered or deleted, and several dozen "memorial films" were created.

The Statue of Liberty and the WTC. © Paula Barr & Artists Rights Society (ARSNY).

Winslow Homer: Cross Currents

Image above: The Life Brigade, ca. 1882, Oil on canvas

This work startled me with its minimalist composition, palette and brush. Homer is a master of color and paint found in his oils and watercolors.

At Cullercoats, Homer painted almost exclusively in watercolor; this remarkably bold oil sketch was likely produced after his return to the United States. Inspired by scenes of rescue and his admiration for the local volunteer lifesaving crews that he had witnessed in action.

It’s a knockout. The Washington Post

The exhibition was on view at The Met April 11 - July 31, 2022.

Holbein: Capturing Character

Reflecting on the Morgan Library’s Hans Holbein Exhibition February 11-May 15, 2022.

This will be the first major U.S. exhibition dedicated to the art of Hans Holbein the Younger (1497/98–1543), who created captivating portraits of courtiers, merchants, scholars, and statesmen in Basel, Switzerland, and later in England and served as a court painter to King Henry VIII (1491–1547). The Morgan’s display will feature around 60 objects from over 20 lenders across the globe, including 31 paintings and drawings by Holbein himself. His work was detailed with inscriptions, insignia, and evocative attributes, conveying truthful likenesses but also celebrating the individuals’ identities, values, aspirations, and achievements. Exclusive to the Morgan’s exhibition is Sir Thomas More (1527)—one of the masterpieces of Holbein’s first stay in England—depicting the philosopher, statesman and humanist at the height of his political career. More sat for Holbein shortly before he was promoted to Lord Chancellor, the highest-ranking office in Tudor England. Holbein presents his sitter as an authoritative statesman, prominently adorned with a golden chain of office.

Hans Holbein the Younger (1497/98–1543) was among the most skilled, versatile, and inventive artists of the early 1500s. He created captivating portraits of courtiers, merchants, scholars, and statesmen in Basel, Switzerland, and later in England, and served as a court painter to Tudor King Henry VIII (1491–1547). Enriched by inscriptions, insignia, and evocative attributes, his portraits comprise eloquent visual statements of personal identity and illuminate the Renaissance culture of erudition, self-fashioning, luxury, and wit

Holbein worked closely with Erasmus of Rotterdam, Thomas More, and other esteemed scholars in Renaissance Europe as both a portraitist and book illustrator. The book, with its ability to preserve and revive ancient texts and promulgate new ones, became the period’s humanist symbol par excellence, which many patrons wanted displayed in their portraits. Holbein was also active as a designer of personal jewels, which could serve as small declarations of the wearer’s taste, beliefs, and erudition. Featuring examples from the artist’s diverse output alongside select works by his Northern contemporaries, Capturing Character explores Holbein’s contributions to Renaissance portraiture and celebrates the era’s sophistication and visual splendor.