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The image is a newspaper article from "The Sun," Baltimore, dated Sunday Morning, May 7, 1944. The article is titled "Art Notes" and is written by A. D. Emmart. The article discusses an exhibition at the Museum of Art featuring works by Bernard Strozzi, Giuseppe Maria Crespi, and Giovan Battista Piazzetta, known as "Three Baroque Masters."

Key points from the article include:

1. Exhibition Overview: The exhibition showcases works borrowed from the Detroit Institute of Arts, including a catalog that provides detailed information about the artworks.

2. Baroque Art Characteristics: The article explains that baroque art is typically thought of as a mode of expression emphasizing emotionalism, drama, and action rather than form. It highlights the psychological and individual aspects of baroque painting.

3. Artists' Works:

   • Bernard Strozzi: Known for his contrasts between light and shadow, and his depiction of religious and genre subjects.
   • Giuseppe Maria Crespi: Noted for his genre scenes and portraits, such as "The Flea-Catcher" and "Portrait of a Gentleman."
   • Giovan Battista Piazzetta: Recognized for his drawings and paintings, including "The Sacrifice of Isaac."

4. Critique and Analysis: The article critiques the individual styles and techniques of the artists, mentioning specific works like Strozzi's "The Captive Bird" and Crespi's "The Flea-Catcher." It also discusses the historical context and the significance of these artists in the broader scope of art history.

5. Conclusion: The article concludes by emphasizing the importance of understanding the individual approaches and techniques of these artists, which can provide insight into the development of art during the baroque period.

Overall, the article provides a detailed analysis and appreciation of the works of these three baroque masters, highlighting their unique styles and contributions to art history.

THE SUN, Baltimore, Sunday Morning, May 7, 1944

ART NOTES by A. D. EMMART

The Museum of Art deserves the gratitude of the gallery visitor for its exhibition of paintings by Bernardo Strozzi, Giuseppe Maria Crespi, and Giovanni Battista Piazzetta, supplemented with some Piazzetta drawings. The work of those three Baroque masters - were they indeed masters of that style in the sense of being its most eloquent or most influential exponents - has been borrowed from the Metropolitan, Fogg, Walters and half a dozen municipal museums, several galleries and a few private collections. It has been assembled with taste and thought, and has been set out too much of a cluttering of explanatory notes, and has been described in an excellent catalogue that I urge the visitor to buy, if only for Hans Tietze's lucid and stimulating introductory essay.

So far as I know the display constitutes the first considerable treatment of baroque painting to be offered in Baltimore, though the museum's show of Magnasco in an earlier season ought to be remembered in this context. Over and beyond the interest individual paintings possess for the observer, it has, therefore, the value of directing general attention to a major phase of art history and of furnishing that attention with some suggestive documents.

Typically baroque art is commonly thought of as a mode of expression which represents emotion, sensation, attitude rather than form as such. It is emphatic, strenuous, if not, indeed, exaggerated in statement. It is concerned with the dramatic, the picturesque, the sensational, and it seeks to heighten and create total impressions. It may run to pathos or to realism, but in both it accounts strongly individualizing feeling and psychological perception, more than formal or architectural perception. It has been said of it that it “concentrates not on being but on becoming.”

However, baroque painting is hardly shown in its excessive or peak moments when it seems allied to violence and grotesquerie in the works of the three painters on view at the museum. Of them Strozzi, the eldest, seems closest to grandeur, but if in the sharpness of the characterization of the “Boy with a Basket of Fruit” and in the conception of gesture and drapery, and the manipulation of religious and mythological themes he seems related to full-fledged baroque painting it is, so to say, only at a considerable distance.

Crespi strikes me as the most interesting of the three painters though he lacked the good deal of Strozzi's eloquent and strident power of expression. In the strange, if rather sentimental, portraits, the “Descent from the Cross,” “Flight into Egypt,” “The Visitation,” “Adoration of the Magi,” and the self-portrait in a studio and the many drawings, he appears as a painter of a distinctive, but limited, vision and rather unusual technical resources.

One can, I think, find in some parts of his work clear intimations of developments which were to lead on to the later Neoclassicism and romanticism.

Piazzetta surely holds his own beside Strozzi or Crespi, though the color and manner of painting in “The Captive Bird” and “Portrait of a Scholar” are decidedly interesting. The ambitious “Hecuba and Oenone” is only tedious and labored. “The Madonna and Child,” “Man in Polish Costume,” “The Sacrifice of Isaac,” and the fine drawings show him at his best, I feel.

In any event the triple approach to individualized “realism” in the handling of emotive qualities and to the decorative treatment of what must be looked for a better word to be called sentimental in the paintings of these three men is, I think, worth contemplating, for in them may be found some aspects of the human situation that are worth considering. Then too the sure facility with which they worked, though it does not constitute a perfection of craft or any major mastery over materials, merits notice and admiration.

The image depicts a newspaper clipping from "The Sun," Baltimore, dated Sunday Morning, May 7, 1944. The article is titled "Art Notes" by A. D. Emmart, discussing an exhibition at the Museum of Art.

The article highlights the exhibition of paintings by three Baroque artists: Bernardo Strozzi, Giuseppe Maria Crespi, and Giovanni Battista Piazziatti, supplemented with some Piazziatti drawings. Emmart praises the exhibition but notes that the work of these artists is typically overshadowed by more renowned Baroque masters.

He emphasizes the significance of the exhibition, which is the first of its kind in Baltimore, and its potential to provide valuable insights into the history of Baroque painting. Emmart describes Baroque art as typically characterized by a strong emotional expression, often conveying somber or intense feelings through its use of dramatic lighting, rich colors, and detailed textures.

The article then breaks down each artist's contributions:

• Strozzi’s work is noted for its dramatic and grandiosity, with works like "The Captive Bird."
• Crespi’s paintings are described as having a more restrained, somber quality, with notable works such as "The Visitations" and "The Adoration of the Magi."
• Piazziatti's paintings are described as more subdued and contemplative, with works like "Horologium and Omphalos" and "The Madona and Child."

Overall, Emmart concludes by appreciating the artistic quality and the thoughtful curation of the exhibition, which provides a balanced view of Baroque painting and its emotional depth.

The image shows a newspaper clipping from "The Sun," published in Baltimore on Sunday, May 7, 1944. The article is titled "Art Notes" and is written by A. D. Ewart. The piece discusses an exhibition at the Museum of Art featuring paintings by three Baroque masters: Bernardo Strozzi, Giuseppe Maria Crespi, and Giovanni Battista Piazzetta, along with some drawings by Piazzetta.

Ewart expresses gratitude towards the gallery visitors for their appreciation of the exhibition and notes that the works have been borrowed from various museums, including the Metropolitan, Poggibonsi, and others. He mentions that the display represents the first considerable treatment of Baroque painting in Baltimore.

The text describes Baroque art as expressive of emotion and sensation, often through dramatic and extravagant forms. Ewart highlights that while the paintings are not always overtly emotional, they convey individual feeling and perception.

In his analysis, Ewart discusses the works of Strozzi, Crespi, and Piazzetta individually:

• Strozzi's paintings are noted for their dramatic and grandiose qualities, though they sometimes lack the depth of full Baroque expression.
• Crespi's work is praised for its emotive qualities and distinct style, though some pieces are criticized for their lack of originality.
• Piazzetta's work is described as having a unique, almost naive quality, with some pieces standing out for their vividness and emotive power.

Overall, Ewart concludes that the exhibition offers a good introduction to the individual styles and emotional depth of Baroque painting, despite some limitations in craftsmanship and originality.

The image is a newspaper clipping from "The Sun," published in Baltimore on Sunday, May 7, 1944. The article is titled "ART NOTES" and is written by A. D. Emmart. The piece discusses an exhibition of Baroque paintings by three masters: Bernardo Strozzi, Giuseppe Maria Crespi, and Giovanni Battista Piazzetta.

Key points of the article include:

1. Gratitude and Appreciation: The Museum of Art expresses gratitude for the generous loan of these Baroque paintings from various museums, including the Metropolitan Museum, Poggiali, and others.

2. Baroque Style: The article highlights that Baroque art is often associated with dramatic expressions and emotional intensity. It emphasizes the individuality and psychological depth of Baroque paintings, rather than just formal or architectural aspects.

3. Artists' Works:

   • Bernardo Strozzi: Known for his expressive and emotional works, Strozzi’s paintings are characterized by their intensity and grandeur.
   • Giuseppe Maria Crespi: His work is described as more subdued and sentimental, with a focus on individual portraits and religious themes.
   • Giovanni Battista Piazzetta: Piazzetta's paintings are noted for their subtle, delicate, and almost ethereal qualities, with a focus on religious and mythological themes.

4. Overall Impression: The article concludes that the exhibition provides a valuable opportunity to observe the distinctive qualities of Baroque painting, emphasizing the emotional and realistic approaches of the three artists, despite their varied styles.

The article serves as an insightful introduction to the Baroque style and the unique contributions of these three painters to the art form.

The image shows a newspaper clipping from The Sun, Baltimore, dated Sunday Morning, May 7, 1944. The article is titled "ART NOTES" and is written by A. D. Emmart.

The article reviews an art exhibition featuring works by Bernardo Strozzi, Giuseppe Maria Crespi, and Giovanni Battista Piazzetta, described as "Three Baroque Masters." The author argues that these artists embody the true essence of the baroque style, which is characterized by its dramatic and emotional intensity rather than just ornate details.

Key points from the article include:

1. Baroque Characteristics:

   • Baroque art is noted for its sense of movement, emotional expression, and dramatic use of light and shadow.
   • It often involves strong individualization, combining both pathos and realism.
   • The author emphasizes that baroque art is not just about the decorative but about being "engrossing."

2. Specific Observations on the Artists:

   • Strozzi: The author admires Strozzi's fluent and striking power of expression, highlighting works like "Jael and Sisera," "Flight into Egypt," and "The Visitation." These paintings are noted for their strong sentiment and effective use of chiaroscuro (light and shadow).
   • Crespi: The author finds some of Crespi's works to show intentions of downplaying or redoing compositions similar to Venetian painters.
   • Piazzetta: The article praises Piazzetta for his basic color and interesting works such as "The Captive Bird" and "Portrait of a Scholar." The paintings "Madonna and St. Philip Neri," "The Sacrifice of Iphigenia," and "St. James Led to Execution" are also mentioned for their fine drawing and solidity.

3. Overall Impression:

   • The author concludes that while these artists may not reach the masterful heights of the greatest artists, their works are still commendable for their individual qualities and contributions to the baroque genre.
   • The exhibition is seen as a significant display of baroque painting in Baltimore, offering valuable insights into the period and style.

Overall, the article offers a detailed and appreciative critique of the baroque art displayed in the exhibition.

This is an image of a typed document, titled "ART NOTES by A. D. BLAIR" from "THE SUN, Baltimore, Sunday Morning, May 7, 1944." The document appears to be an article or essay discussing an exhibition of paintings by artists Bernardo Strozzi, Giuseppe Maria Crespi, and Giovanni Battista Piazzetta, complemented with some Piazzetta drawings. The author expresses gratitude to various sources that contributed to the exhibition, such as the Metropolitan, Fogg, Walters, and private collections. The text goes on to detail aspects of baroque art and the contribution of these artists to the genre, analyzing aspects like emotional expression, technique, and the influence on later art movements. The document is held in a folder with two punched holes bound by a round white fastener on the right side, which is likely part of an archival collection or personal files. The paper has aged, giving it a slightly yellow tone, and typographical errors in the text suggest it's an original typed manuscript rather than a published article.

The image shows a page of typewritten text titled "ART NOTES by A. D. EMMART" from THE SUN, Baltimore, dated Sunday Morning, May 7, 1944. The page appears to be mounted on a larger, aged beige cardboard backing with two circular punched holes on the right side reinforced with white paper rings, likely for filing or storage.

The text discusses an art exhibition by Bernardo Strozzi, Giuseppe Maria Crespi, and Giovanni Baptista Piazzotta, described as "Three Baroque Masters." It praises the Museum of Art for presenting these works and comments on the characteristics of Baroque painting, highlighting its emotive power and distinct style. The piece also offers specific insights into each painter's style and contributions, particularly focusing on Crespi and Piazzotta's artistic qualities and impact.

The page has some slight discoloration and wear at the edges but is generally in good condition. There is a handwritten notation "2.5." in pencil at the top left corner of the page.

The image appears to be a newspaper clipping or article from The Sun, Baltimore, dated May 7, 1944. The article is titled "ART NOTES" and is written by A. D. Ehmann. It discusses an exhibition of Baroque paintings at the Museum of Art in Baltimore, featuring works by artists such as Bernardo Strozzi, Giuseppe Maria Crespi, and Giovanni Battista Piazzetta.

The article provides an overview of the exhibition, highlighting the importance of Baroque art in the museum's collection and the value of the individual paintings on display. It also mentions that the exhibition has been mounted with an excellent catalogue, which includes an introduction by Hans Tietze.

The article goes on to analyze the characteristics of Baroque art, describing it as a mode of expression that is typically emphatic, emotional, and exaggerated. However, it also notes that Baroque art can be more than just a display of emotion and can convey a sense of psychological depth and architectural perception.

The article then focuses on the works of the three main artists in the exhibition: Strozzi, Crespi, and Piazzetta. It discusses their individual styles and how they relate to the broader Baroque movement. The author praises Strozzi's ability to balance emotion and restraint in his paintings, while also noting the limitations of Piazzetta's work. Crespi is described as a painter of distinct and limited vision, with a unique approach to the handling of emotion and decorative treatment.

Overall, the article provides a thoughtful analysis of the Baroque art exhibition at the Museum of Art, highlighting the importance of the individual paintings and the value of the exhibition as a whole.

Description of the Image:

The image shows a scanned page from a newspaper or magazine titled "The Sun, Baltimore, Sunday Morning, May 7, 1964." The page is part of a section labeled "Art Notes" and is authored by A. D. Emmart. The content is a detailed art critique or review discussing an exhibition of paintings by Bernardo Strozzi, Giovanni Battista Piazzetta, and Giuseppe Maria Crespi, collectively referred to as the "Three Baroque Masters."

Key Elements of the Page:

1. Header Information:

   • The top of the page includes the publication name, date, and section title:
     • "THE SUN, Baltimore, Sunday Morning, May 7, 1964"
     • "ART NOTES by A. D. EMART"

2. Content Overview:

   • The article begins by acknowledging the gratitude of gallery visitors for the exhibition of paintings by the three Baroque masters. It notes that the exhibition was organized by the Museum of Art and supplemented with works by other artists.
   • The author highlights that the style of these three artists is considered "the most grandest or most indigenous" of Baroque art, and their work is "the son of being its greatest" in terms of influence.

3. Exhibition Details:

   • The exhibition includes numerous private and municipal museum collections, as well as works borrowed from the Metropolitan, Fogg, and Chicago Institute of Art.
   • The author praises the excellent catalogue provided, which is described as "indispensable" for understanding the exhibition. However, they note that the visitor must purchase the catalogue themselves, as it is not included with the admission ticket.

4. Baroque Art Analysis:

   • The article delves into the nature of Baroque art, emphasizing that it is typically seen as a mode of expression rather than a mode of form. It discusses how Baroque art conveys emotion, sensation, attitude, and even thought, often through emphatic, forceful, and exaggerated means.
   • The author contrasts Baroque art with earlier Renaissance styles, noting that Baroque art is more psychological and perceptual, focusing on individualized feeling and happening rather than formal structure.

5. Specific Artists:

   • Bernardo Strozzi is highlighted as the most interesting of the three artists. The author praises his power of expression, noting that while his work is fluctuant and striking, it sometimes lacks a good deal of strange, rather sentimental portraits. Specific works mentioned include "The Visitation," "The Adoration of the Magi," and "The Flight into Egypt."
   • Giovanni Battista Piazzetta is described as holding his own alongside Strozzi and Crespi, with a sober color scheme and manner of painting. His works, such as "The Madonna and Child," "The Portrait of a Scholar," and "The Portrait of Omphalo," are noted for their oddity and laboriousness.
   • Giuseppe Maria Crespi is praised for his ambitious handling of contour and decorative treatment, though the author suggests that some of his work may be overloaded with literal passages.

6. Conclusion:

   • The author concludes by noting that while the three artists exhibit a triple approach to individualized "realism," their works are contemplative and sentimental in many respects. Despite their technical skill, the author suggests that their facility with craft and mastery over materials does not always translate into merit and admiration.

Visual Characteristics:

• The page appears to be a photocopy or scan of a printed document, with visible signs of aging, such as browning edges and faint stains.
• The text is typed or printed in a serif font, typical of mid-20th-century publications.
• There are no illustrations or images on the page; it is purely textual.
• The page is oriented vertically, and the text is neatly aligned in paragraph form.

Summary:

The image depicts a page from "The Sun" dated May 7, 1964, featuring an art critique by A. D. Emmart. The article reviews an exhibition of paintings by Bernardo Strozzi, Giovanni Battista Piazzetta, and Giuseppe Maria Crespi, collectively known as the Three Baroque Masters. The author analyzes the style, themes, and technical qualities of their works, highlighting the expressive and psychological nature of Baroque art. The page is a textual critique with no accompanying visuals, and it reflects the art criticism style of the mid-20th century.