FOUNDATION MAKE UP REVIEW : UP REVIEW

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Foundation Make Up Review


foundation make up review
    foundation
  • A woman's supporting undergarment, such as a girdle
  • the basis on which something is grounded; "there is little foundation for his objections"
  • an institution supported by an endowment
  • A body or ground on which other parts rest or are overlaid
  • The lowest load-bearing part of a building, typically below ground level
  • lowest support of a structure; "it was built on a base of solid rock"; "he stood at the foot of the tower"
    make up
  • constitute: form or compose; "This money is my only income"; "The stone wall was the backdrop for the performance"; "These constitute my entire belonging"; "The children made up the chorus"; "This sum represents my entire income for a year"; "These few men comprise his entire army"
  • makeup: an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"
  • constitution: the way in which someone or something is composed
  • The combination of qualities that form a person's temperament
  • Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance
  • The composition or constitution of something
    review
  • A periodical publication with critical articles on current events, the arts, etc
  • look at again; examine again; "let's review your situation"
  • A formal assessment or examination of something with the possibility or intention of instituting change if necessary
  • an essay or article that gives a critical evaluation (as of a book or play)
  • A critical appraisal of a book, play, movie, exhibition, etc., published in a newspaper or magazine
  • reappraisal: a new appraisal or evaluation

Barnes Foundation
Barnes Foundation
barnes Foundation

"The Temptation of St. Anthony," formerly ascribed by the Barnes to Bosch, is now said to be a 16th-century copy by an unknown artist.

August 27, 2005
The Barnes Revises Attributions of Old Masters
By JULIA M. KLEIN

PHILADELPHIA, Aug. 26 - A review of the vast collection and archives of the Barnes Foundation is upending attributions of some of its old master paintings and revealing new details of its founder's relationships with painters, collectors and other artistic luminaries of the 20th century, administrators say.

Among the 22 paintings whose attributions are changing in a continuing assessment project, now four years old, are works formerly credited to El Greco, Rubens, Titian, Tintoretto, Veronese, Giorgione and Bosch.

"I don't think any of it was shocking or surprising," said Emily Croll, the Barnes Foundation's senior administrative officer, who has headed the project at the foundation, in suburban Merion, Pa. "For decades people have been saying some of our old masters weren't what we said they were."

Lending momentum to such stock-taking is an eight-month-old court ruling clearing the way for the financially troubled Barnes to relocate to Philadelphia, where it is expected to draw far bigger crowds. Students affiliated with the Barnes had challenged the move, saying it would violate the terms under which the patent-medicine magnate Albert C. Barnes founded the institution in 1922.

Although a study of the foundation's large holdings of Matisse and Renoir is under way, said Joseph J. Rishel, a senior curator at the Philadelphia Museum of Art who is chairman of the assessment committee, none of the 19th- or 20th-century works for which the Barnes is renowned are likely to be reattributed.

"These are very published, very exposed paintings," Mr. Rishel said of the collection's Renoirs, Cezannes, Matisses and Picassos. "When purchased, they were some of the most famous things of their kind."

The de-attributions of old master works were reported on Sunday by The Philadelphia Inquirer.

In an interview with The New York Times, Larry Silver, professor of art history at the University of Pennsylvania, said he had known for years that "The Temptation of St. Anthony" ascribed to Bosch (circa 1450-1516) in the Barnes collection was a copy, in part because he has seen the original twice in Lisbon and again at an exhibition in Washington.

Mr. Silver, one of 39 consultants involved in reassessing works owned by the Barnes, said the mid-16th- century copy represents only an excerpt of the original canvas and lacks Bosch's "handling - the way he uses paint in thin, rather loosely brushed layers, and his color harmonies, which are much more delicate in undoubted originals."

On the other hand, Mr. Silver said, his review confirmed the authenticity of other Northern European paintings in the collection, including "a spectacular example" of a late portrait by the 17th-century artist Frans Hals ("Portrait of a Man Holding a Watch") and "The Square Watch-Tower," a landscape by Jan van Goyen that the professor said would be the envy of many museums. The assessment project, which also includes the organization and preservation of the archives, digitizing files and images from the collection, and conservation assessment, is intended to remedy what Ms. Croll described as "80 years" of benign neglect since the foundation was established.

Conservation assessment at the Barnes over the last several years has turned up an array of problems, including Pueblo ceramics in the gallery with "inactive mold," moth-eaten Navajo rugs at the Barnes's Ker-Feal estate in Chester Springs, Pa., and a need for stabilization of paintings and especially works on paper. "We're stopping the damage," said Barbara Buckley, the foundation's chief conservator.

As for authorship, Ms. Croll said, "reattributions are something that every museum does constantly, and we haven't had the opportunity to do it officially till very recently," she said.

Among the other reattributed works are "The Disrobing of Christ" (now considered "School of El Greco") and an "Annunciation" (described as a "possibly 17th-century" copy of an El Greco); "The Holy Family With St. John and an Angel" (ascribed to the workshop of Peter Paul Rubens); "Christ and the Woman of Samaria" (ascribed to a follower of Tintoretto), and "Portrait of a Gentleman and Son" (credited now to an "unidentified artist, Brescian School" rather than Titian).

Ms. Croll said the project has also helped the foundation identify previously unidentified works, confirm the authenticity of others and establish the quality of some of its less-well-known collections of objects. For example, Edwin L. Wade, senior vice pres
APO Oblation Run 2008 - Esguerra
APO Oblation Run 2008 - Esguerra
The Oblation I WONDERED last Monday what the sculptor Guillermo Tolentino would have said had he lived to see the Oblation Run, named after his famous sculpture at the entrance of the University of the Philippines (UP) campus Diliman area of Quezon City. The Inquirer had an article, "Running naked for a cause," last Saturday reviewing the history of the Oblation Run from its "debut" in 1977 (two fraternity men, protesting the banning by martial law authorities of a film "Hubad na Bayani" or "Naked Hero") to the present (25 streakers this year, rallying around the theme, "German Cut Yes, Budget Cut No"). I thought of writing more about that Oblation Run; in fact, I got to a first draft talking about the sexual undertones but I ran out of steam and decided to shelve that till next year. What I thought I'd focus on is the Oblation itself, which seems to have retreated into the background. Even UP people, myself included, don't seem to know enough about the statue. Fortunately, there is comprehensive information about the sculpture available on the Internet, posted on the website of the Friends of UP Foundation in the United States (www.geocities.com/College Park/Quad). Here you find the story behind the Oblation, a description from the late Guillermo Tolentino of the symbols used, and the full text of the inscriptions around the statue. That posting itself tells you how important the Oblation is in terms of institutional memory, especially for UP alumni. We often forget, too, that the Oblation has become a national icon as well. Just look at how many times the Oblation has appeared in local films -- any scene that supposedly features the University of the Philippines (emphasis on "Philippines") has to have a shot of the young man, arms raised to the sky. Those of us who work in UP are often unaware of how important the Oblation is even for people outside the university. Just two weeks ago a friend brought over his mother to visit me at the campus and she told me, rather excitedly, that this was her first time on the Diliman campus. The highlight of her visit was an all-too-fleeting glimpse of the Oblation that she caught from the bus as it entered the campus. I offered her a better view, so we walked over to the statue. She was totally thrilled and told her son in Tagalog, "Did you know that Tito Kiko was conceived with this statue?" I know, the English translation sounds really strange, but you can guess the word she used was "pinaglihian." It seems that while pregnant, Tito Kiko's mother frequently went to the Diliman campus to stare at the statue, the idea being that her unborn child would acquire characteristics of the object of her "lihi." No, no, I don't think it was that "characteristic." The Oblation has a fig leaf to provide strategic cover. Let's get on now with the Oblation. Despite the fig leaf, Mr. Oblation remains anonymous, with all kinds of speculation about who the model was. Rather strangely un-Filipino-like, he hasn't been given a nickname yet; people refer to him simply as "yung hubad" (the naked one). The naked one is still going strong, even if he turned 67 this year. In 1935, UP president Rafael Palma commissioned Tolentino for the sculpture, with a request that the work be based on the second stanza of Jose Rizal's "Mi Ultimo Adios." That passage is replete with references to giving up one's life for the country. Thus you have the outstretched arms, face looking toward the sky, almost evocative of the way Rizal himself was martyred. The statue is actually concrete but it was painted to make it look like bronze. It cost all of 2,000pesos, a hefty sum at that time, raised within two months from contributions of students and staff at the university. Tolentino describes the statue, all the way down to "closed eyes and parted lips murmuring a prayer," to represent "all the unknown heroes who fell during the night." The base, filled with rocks, is supposed to represent the rugged Philippine archipelago. The rocks came from the town of Montalban, outside Manila, site of a fierce battle between Filipino guerrillas and the Japanese army during the last world war. Also at the base is katakataka -- literally, the plant that startles. Also known as siempreviva (always living), the plant is known for the way it shoots up, even from a leaf. Tolentino says this symbolizes "the deep-rooted patriotism in the heart of our heroes. Such patriotism continually and forever grows anywhere..." It's amazing how much symbolism went into the statue, all the way up to its height: 3.5 meters, to represent 350 years of Spanish rule. (You may have wondered, as I did, why there wasn't another half a meter for 50 years of American rule, but the Oblation was put up in 1935, when we had become a Commonwealth but were still under the Americans.) There are insc

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