Brandt Junceau
Le Corbusier a Life, Le Corbusier Le Grand
By Brandt JunceauI am lucky to have read Le Corbusier uncritically. I was sixteen, and I began with the big linen-bound Oeuvres Completes 1910-1965.
BERNINI: Sculpting in Clay
By Brandt JunceauGian Lorenzo Bernini wasn’t always our Bernini. He was self-made (a ferocious infighter at the Vatican), and dominated baroque Rome with hard work, not simply by being the best man for every job.
The Folk Art Collection of Elie and Viola Nadelman
By Brandt JunceauIn 1937, Elie and Viola Nadelman's Museum of Folk and Peasant Arts was an original in practically every way. Today, the contents are still quite delicious; every piece exceptional, acquired while practically nobody else was looking, each cousin to a common aesthetic purpose.
Michelangelo, the Man and the Myth
By Brandt JunceauMichelangelo, the Man and the Myth might be more plainly called “Michelangelo Drawings from the Casa Buonarroti.” Fully half the checklist items are hagiographic materials of greater or lesser interest, which better portray the artist’s public perception and the lending institution’s holdings than the artist himself.
Leonardo da Vinci's Saint Jerome
By Brandt JunceauThe panel is more than precious; it is a relic, not of the saint, but the artist. The installation presumes that we will understand it to be a masterpiece, one of only six securely attributed to Leonardo’s hand.
Michelangelo: Divine Draftsman and Designer
By Brandt JunceauYou really have got the old man,” Kenneth Clark told John Pope-Hennessy upon reading his study of Michelangelo. The “old man” (1475–1564, painter, sculptor, architect, and poet) seems always to have been the old man, always at the top.
Marino Marini
By Brandt JunceauMarino Marini is not my master. I was not that fortunate, but he is for me an exemplary artist.
