Posted by Yvonne Korshak at 04:15:40 PM in

Beyond the Text: Artists' Books from the Collection of Robert J. Ruben


Jaffe, Irma B. & Yvonne Korshak

There are also full figures. In a 1985 article in the magazine ''Pantheon,'' the art historian Yvonne Korshak argues for the existence of a trumpeter and other Last Judgment images in the clouds and fields of ''Crows Over the Wheatfield.'' To the right of the ''Mountains at Saint-Remy,'' nestled in the hillside like a ''Slave'' of Michelangelo asleep within his stone - but also protective of the proud little army of trees and flowers marching alongside the road - there appears to be a reclining figure. If it brings to mind reclining nudes, it also suggests a painter with palette.

thank you for your comments yvonne korshak, much appreciated that you have commented on the 'telling' michelangelesque device of the strap. i recently read james beck's objection to the hair, which he regards as completely non-michelangelo, and lacking in the understanding of how hair grows from the scalp, instead of piled up and looking as beck states, piled on in the archer. yet, a quick memory jog review of michelangtelo's earlier and later sculptures and paintings and drawings, provides no visual support for beck's claim. in fact, in case after case, as one focuses on male hair, a review of michelangelo's male figures, reveals the artist's constant piling up hair on figures, in such a unrelenting manor as to make it an obvious conceit particular to michelangelo! far from detracting from a michelangelo attribution for the archer, the use of a piled on curls on the archer, becomes a very eccentric and quite consistent peculiarity of michelangelo's male figures!

Posted by Yvonne Korshak at 5:09 PM in

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Posted by Yvonne Korshak at 11:59 AM in ,

The phrygian cap is all over the place once you start looking at it. You might be interested in reading "The Liberty Cap as a Revolutionary Symbol in America and France" by Yvonne Korshak (Smithsonian Studies in American Art, Vol. 1, No. 2 (Autumn, 1987), pp. 53-69). It's all about how the Americans actually started using the Phryngian cap as a symbol of slavery first, and then the French picked it up for their revolution. And the Statue of Liberty was originally designed to wear a phryngian cap, but by then the symbol had changed in America to have negative connotations.

I'll be watching Alberti's Window with interest. Perhaps you'll take a look at my blog, too — on a different topic —
Yvonne Korshak