By Janis Londraville
A biography of 1 of America's missed grand masters.
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Extra resources for Corbino: From Rubens to Ringling (Excelsior Editions)
The woman couldn’t help herself, Schopenhauer wrote: “She pays the debt of life not by what she does but by what she suffers—by the pains of child-bearing, care for the child, and by subjection to man, to whom she should be a patient and cheerful companion. ”6 It was an answer a very young Jon Corbino thought he could understand: Salvatrice couldn’t help herself. Deliberately, her son began to withdraw more and more from his family. Gaetano, perhaps inadvertently, exposed Jon to an argument that denigrated women.
His favorites were Tintoretto, Titian, and Rubens, who in response to the wishes of their patrons often centered their work on Christian or mythological subjects. What attention they paid to ordinary people was often as a backdrop for a Christ or an Achilles. Corbino was able to take these background elements and move them forward to shine a new light on them. The twentieth-century common man, warts and all, became the subject that most attracted him. Although the setting is important, it is secondary to empathy with the men and women who began to inhabit Corbino’s paintings.
New Yorkers loved the exhibition, but how would they respond to a larger image–no doubt controversial—confronting them daily? Holger Cahill had done a good job while Barr was on sabbatical in Rome for most of 1932. Alfred had needed the time away from the job; in three years he had written seventeen articles, the exhibition catalogues for the museum, and eleven lectures. But when he returned, he found museum politics much as they had always been. He was disappointed to lose the Picasso show. The artist was uncooperative, and trustee Stephen Clark was afraid that a Picasso exhibition would offend some conservative donors.
Corbino: From Rubens to Ringling (Excelsior Editions) by Janis Londraville