The last of a breed
Jul. 31st, 2007 07:41 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
actrЕсли кому-то интересно, в воскресном выпуске NYT статья о Филиппе де Монтебелло, который вот уже 30 лет является директором художественного музея Метрополитен, и о его возможном уходе на пенсию (странно звучит применительно к такому мужчине).
"The trustees originally turned to Mr. de Montebello partly because he was already doing a lot of Mr. Hoving’s job and partly, presumably, because he is a casting director’s dream of an Old World European. He was not a wildman, but a bespectacled, nicely tailored aesthete. In addition to his accent, he has looks, manners, wit and a touch of hauteur. He also has a lengthy cultural and literary pedigree. His father was a fighter in the Resistance and a French count, a direct descendant of Marshal Jean Lannes, one of Napoleon’s favorite generals. His great-grandmother was a model for Proust’s Duchesse de Guermantes, and the art historian John Richardson speculates that another ancestor was a model for Proust’s playwright character Bloch. An aunt, Marie-Laure de Noailles, was a friend of Picasso and a patron of the Surrealists."
Кстати, вот то, чего, по-моему, сильно не хватает директору Бостонского MFA Малколму Роджерсу - "He understands that a museum doesn’t exist just to make a profit or to please the trustees."
Как раз об этом - "And curators like Mr. Christiansen and Mr. Goldner, who has a dim view of most museum directors, calling them “pipsqueaks” and “a lamentable lot,” would like to keep it that way. They worry that Mr. de Montebello’s successor will turn out to be a slasher like Arnold L. Lehman of the Brooklyn Museum or Malcolm Rogers of the Museum of Fine Arts in Boston, who completely reorganized their museums, cutting lots of curatorial jobs in the process, and then went on to mount exhibitions based on “Star Wars” or Ralph Lauren’s car collection. They also dread someone in the grip of trendy sociological ideas, the kind of director who might have made sure that the Greek and Roman galleries included an exhibition about, say, the role of slavery in creating classical art or about the second-class status of women."
Photo:Damon Winter/The New York Times. Copyright 2007 The New York Times Company
"The trustees originally turned to Mr. de Montebello partly because he was already doing a lot of Mr. Hoving’s job and partly, presumably, because he is a casting director’s dream of an Old World European. He was not a wildman, but a bespectacled, nicely tailored aesthete. In addition to his accent, he has looks, manners, wit and a touch of hauteur. He also has a lengthy cultural and literary pedigree. His father was a fighter in the Resistance and a French count, a direct descendant of Marshal Jean Lannes, one of Napoleon’s favorite generals. His great-grandmother was a model for Proust’s Duchesse de Guermantes, and the art historian John Richardson speculates that another ancestor was a model for Proust’s playwright character Bloch. An aunt, Marie-Laure de Noailles, was a friend of Picasso and a patron of the Surrealists."
Кстати, вот то, чего, по-моему, сильно не хватает директору Бостонского MFA Малколму Роджерсу - "He understands that a museum doesn’t exist just to make a profit or to please the trustees."
Как раз об этом - "And curators like Mr. Christiansen and Mr. Goldner, who has a dim view of most museum directors, calling them “pipsqueaks” and “a lamentable lot,” would like to keep it that way. They worry that Mr. de Montebello’s successor will turn out to be a slasher like Arnold L. Lehman of the Brooklyn Museum or Malcolm Rogers of the Museum of Fine Arts in Boston, who completely reorganized their museums, cutting lots of curatorial jobs in the process, and then went on to mount exhibitions based on “Star Wars” or Ralph Lauren’s car collection. They also dread someone in the grip of trendy sociological ideas, the kind of director who might have made sure that the Greek and Roman galleries included an exhibition about, say, the role of slavery in creating classical art or about the second-class status of women."
Photo:Damon Winter/The New York Times. Copyright 2007 The New York Times Company
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