24 J p i > n g [ioI 2 u InI i I C i I e 17

Nolurol light floods a concrete gallery bay in the Fort Worth Museum of Modern Art, by Tadao Anda and Associates wilh Kendall/Heaton Associates (2002). Floor sculpture: Slil by Carl Andre.

Ando's Modern : Reflections on Architectural Translation

Tadao Ando designed a sublime building for the Modern Art Museum of Fort Worth. As built, it's merely great.

BY RICHARD R. BRETTELL Cite 5 7 2 o o 11 5 p r i n g 25

Tadoo Ando's (ompelilion mode! showed eight lucite lozenges floating on o blue reflective surface. Ando's competition rendering revealed a light filtering roof, intended lo be realized in glass and steel.

The Competition and Ando's Ando's competition model was a Winning Entry series of eight gorgeous lucite lozenges In 1996, the architectural review commit- (lour ol which were connected longitudi- I tee lor the Modern chose sis architects to nally in pairs to form six bays), floating I compete: two Japanese ("Fadao Ando and on a blue reflective surface. Its shimmer- J Arata Iso/aki), one Mexican (Ricardo ing ambiguities ol surface combined with I 1 cgoretta), and three Americans (Richard us lucid geometry to be utterly com- Gluclctnan, Carlos Jimenez, and David pelling, and most viewers of the model Schwarz). Why llns bouquet? File most attempted to "visualize" it as an actual unusual aspect of the selection was how building with little success. Ando's basic relatively non-trendy ir was — no fashion idea was a museum of parallel two-story r;_ —_ v—I- • able Europeans, DO chic Americans, no concrete galleries. 24 feet wide and 1-44 rried-and-true architects. Indeed, among feet long, each encased in glass (rool the group ot sis, only two, Isozaki and included) and topped by a horizontal Legorctta, had internationally recognized "brisc soleil," or sunscreen, to modify the careers (Ando had not yet buill a major extreme Texas light. The sunscreen itseli building outside Japan), and all but one

[ompelilion skelch by Tadao Ando. TADAO ANDO'S BUILDING tor tin M o d e r n A r t general building program and informa- tectural form by non-structural \\;ills, Museum of Fori W o r t h (henceforth "the tion about the newly acquired site and presumably covered in practical painted Modern0 ) opened to unprecedented — asked to submit preliminary plans and a sheetrock. Most of the drawings made in almost universal — accolades. There is model to the Modern. These were care- connection with the competition dealt n o d o u b t in anyone's m i n d that Ando's fully studied by the museum's committee with the relationship between concrete, Modern is ihe niosi i m p o r t a n t museum ami submitted to public scrutiny in an glass, and reflecting warer on the north I m building in Texas since Rcnzn Piano's exhibition held in the museum's galleries. and east sides of the l.-plan building. Few Menil Collection , and in the w o r l d since I laving seen this exhibition, read the details of the facade facing the Kimhell Frank dehry's Guggenheim M u s e u m in local criticism. MU\ discussed the competi- were apparent. Ando, unlike his country- ! Bilbao. Its seriousness ol purpose, archi- tion with many prominent regional citi- man Iso/aki, allowed the Modern's build- tectural purity, and a m b i t i o n are unques- zens, I can say thai there was a consensus ing to be taller than its distinguished tionable. It yearns, in fact, to he in the that Ando's design was superior as a neighbor and to face south, rather than company of the ur-rmiseums of art: Sir work of architectural imagination. west toward the Kimhell, effectively John Soane's D u l w i c h Picture Gallery, Neither the regional/modernist designs ol undercutting a lace-to-face comparison. Ando's competition site plan. Fricdcrich Schinkel's Aires M u s e u m , Legoretta and Jimenez nor the cerebral The entire effect of the model was of Adolphc von Klen/.e's Alte 1'mokotek. minimalism ol Gliicknian struck a chord floating pavilions that were, in them- Ludwig Mies van der Robe's N a t i o n a l in Dallas-Fort Worth, and David selves, reflective, and, thus, markedly dif- Gallery in Berlin, and Louis Kahn's Schwarz "s generic Beaux Arts galleries ferent from Ando's by-now Lumbar archi- Kimhell Arr M u s e u m . were thought repulsive by almost every- tecture of massive concrete walls inter- As a m b i t i o us as Atido's b u i l d i n g is, one. To me, lso/aki's plan was much secting with the ground and horizontal it could have been better. This review more compelling than it was considered sheets of water. In the original plans for will consider Ando's masterpiece in three to be by either museum insiders or the the Modern, the only direct meeting of ways: I i its position in the competitio n public, (lad it been selected and con- concrete and water occurred in the oval from which it emerged, 2) the translation structed, it would have been more adven- restaurant pavilion, which pushed from a of the concept to actuality, and

LJHB The enltonce locode, composed of gloss ond oluminum panels. An elevoted stulplme terrace offers a view of Vortex by Richard Serro.

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first Hoot plan. 1) Entrance hall. 7) Shop. 3) Auditorium. 4) Cafe. S) Parking. 6) Galleries. 7) Storage. Second-floor plan. I) Offices. 7) Sculpture terrace 3) Classrooms. 4) Galleries. Bl Loading. 9) Workshop.

galleries w o u l d he lit w i t h natural light immediately of the first internationally w w II from above, in the manner f a m i l i a l to important museum b u i l d i n g in Texas, u students ol Beaux-Arts painting galleries. Mus \.\\i der Kobe's addition to the i Those on the lower galleries w o u l d , pre- Museum of Fine A r t s , H o u s t o n . The I sumably, he artificially lit w i t h natural Brown Pavilion placed contemporary art 1 light leakage through doors and light in i i i i r s e d . glass-called structuri that wells and f r o m the glazed v i e w i n g plat- appeared to float — not on water, but on forms in between the concrete gallery a recessed limestone base. Another nod to structures and the side light reflected off f loustou was the echo of Ken/.o Piano's the water t h r o u g h the curtain w a l l . A n d o buildings for the M e n i l Collection. Bulb also separated art f r o m life hy c o n f i n i n g these buildings have glass roofs under or

, .31 the galleries to lour parallel hays, while over w h i c h Piano positioned floating sun- all social, administrative, and educational screens to c o n t r o l the intense Texas sun. him tn m^ were arranged in t w o I. inger Also, m the case of the b u i l d i n g for the entrance hays, hi fact, the entire effect of Vlenil ( ollci in HI, Piano si paratcd .H I from lilt m a manner comparable to that the b u i l d i n g was of transparent metal of A n d o . A n d o effectively subsumed in a "roots" floating a hove tuulhori-less walls single building the materials and architec- ol glass, through which one could S I T the tural solutions of the very best art muse- Site plan. 1) Fori Worth Museum of Modern At). 2) Kimbell Art Museum. Concrete structures. N o t h i n g like it had um buildings in Texas. appeared in Ando's published w o r k . Clearly, the chance to conceive a large- scale museum across f r o m Kahn's How Ando's Competition Designs Became Kimhcll inspired A n d o to new heights an Actual Building of visual poetry. The day alter T.ulao Atulo was lured as the Ando's competitio n entry tor the architect for the M o d e r n , the board of Modern was a building opposite in char- trustees hired a prominent project manager acter f r o m its esteemed neighbor. The in work 'A nil Ando. I In-- n u n , a n h i t e i I effect of the Kimbell is of a solid b u i l d i n g Pen i l.du.uil \r< cult, had pi rformed a with very small slits for light. Ando's sub- similar function for the developers of mission was a completely open b u i l d i n g I )all.is's ( rescent Court, designed by H I metal and glass. In this, i me thinks Johnson/Burgee, and more recently, for Cite < - 1 0 0 1 s p r i n g 27

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Cleveland's Rock and Roll I [.ill ol l-'amc, Tort Worth — with its major buildings by •The essentially mullion-less curtain walls of The effect of these changes is greater designed by I . M . Pci. lit each case, Arendt Johnson, Kahn, l'ei, Rudolph, and others the competition drawings (with no horizon- than one might think. A building that effectively acted as an informed intercessor — came as a surprise to many. The com- tal and very thin vertical members) became was essentially light in character became among three forces — the architect, the plex process of transformation was well a standardized wall system with a large heavy, more opaque, and more struc- client, and the contractor, f o r the M o d e r n , underway when the tornado of 1999 cage ot aluminum mullions, including two tured. A concrete plane replaced open- the latter, Linbeck Construction of swept through Tort Worth, just missing prominent horizontal mullions, supported work metal for the roof; in the original I Illusion, was selected early in the process, the Culture District and the building site by coaled I-beams, all of which protrude vision, light would permeate the building and this decision was one ol the onl\ con- of the Modern, but devastating glass-clad significantly from the plane of the glass — from the top; in the revised version, none troversies associated with the building. buildings throughout downtown and the both inside and outside. appears to come through. Thin horizontal Linbeck is a well respected firm tor large- area between downtown and the museum planes ol glass, almost free ol apparent scale commercial construction, hut the district. Wind destroyed entire sections of •The glass in the curtain walls was signifi- support and with no structural function, company is not primarily known for its industrial curtain wall, and the storm's cantly reduced on the south and west became a large aluminum-and-coated- work with major architects. Many devotees proximity to the museum must have been walls facing the Kimhell. A system of alu steel grid, in-filled with glass and alu- of architecture in Dallas-Fort Worth had chilling to many donors who had already- inn panels replaced the glass. minum panels. "To many viewers, the grid assumed that the revered local firm made substantial pledges to the completion seems to supporr the cantilevered con- Thomas S. Byrne, which had built the of Ando's privately financed, glass- •The Y-shaped supports for the roof were crete roof. The concrete Y columns Kimhell and important Dallas buildings wrapped building. transformed from those described above, became dominating forms in front ol by Steven I loll, Richard Meier, and What happened as a result of all these located inside the curtain wall, to very glass, rather than the concrete-to-metal, Antoinc Prcdock, would have received factors is lh.n Ando's design changed in large reinforced concrete elements cast in tree-like supports of a transparent metal another much deserved job. This did not subtle hut profound ways. A simple list ol two parts and located outside the glass screen. As drawn in the competition occur, and in conjunction with the appoint- the most notable changes will suffice: wall, hence becoming major elements of designs, the Ys literally represented a tree, ment of Peter Arendt, the retention ol the building's image. with a cylindrical trunk of concrete, twin linbeck signaled the Modern's decision to •The floating metal sunscreens over branches ol steel, and leaves of metal maintain local control of the project the glass roots m the competition •The parking garage beneath the adminis- Moating on a grid. As built, there is a through Arendt and to insure that it was design became virtually solid planes of tration/education/entrance bays was touch of the Gothic in the angle, and the COSl effective through Linbeck. concrete with small perforated sections replaced with street-level parking, redesigned elements read almost as but- Ando's poetry ran the risk of becom- and slits virtually invisible to the viewer. tresses of the tool, which becomes a linn ing prose as the building went from con- The entire system of skylighting was •The six bays of the original design (two concrete plane against the weight of the cept to reality. That this happens fre- transformed as a result of the dc< is of double length), the same number as the sky. At this stage, it is important to con- quently in architecture will come as no to jettison the glass runts of the bays in Kahn s Kimhell Museum of Art, sider the reasons tor the transformation surprise to anyone. That it happened in original design. were reduced to five. of Ando's glass pavilions. Peter Arendt 2D ipting\lnn\ \ ( i I » % 7

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Clockwise from top left: Enlronce at nighl; stair at end ol concrete gallery boy; entry Ioyer looking toward administration ollites; second floor gallery adjocent to main stair.

graciously mei w i t h me to discuss the produce a structure ot such visual d o m i - climate — unacceptable in Port W o r t h . podium on the west and south to counter period <>l translation. One of the nance that the glass itsell seems caged. This logical interest in tin- preservation ot the watery "anti-podium " to the n o r t h Modern's earliest decisions was to nix the In the weeks after the M o d e r n work of art in optimal conditions drives and east. It w o u l d also have rhymed w i t h wrap-around glass, w h i c h was neither opened, many visitors wondered about much of current museum design. Perhaps Kahn's skilllully disguised exterior park- energy-efficient nor g o o d for the protec- the visual weight of the mullions. 1 have the day w i l l come when someone w i t h ing, w h i c h is completely invisible f r o m tion of light sensitive w o r k s of art. An asked several architect friends about alter- authority in art museums w i l l question the the street. (If is interesting to note that aluminum panel was selected as a materi- natives such as the Pilkington System, a ultimate wisdom ot this approach and Kahn too had o n g i n a l l v designed the al that w o i d d have the visual character of curtain-wall system used often by l . M . Pei think as much about the optimal viewing Kimbell w i t h underground p a r k i n g , but glass, hut w o u l d he opaque and energy- and F.dward l.arrahee Barnes. It consists conditions of w o r k s of art as about their in his redesign, managed to hide it.) efficient. It seems that the panel's propor- ol sheer vertical sheets of thick glass sepa- millennial survival. Ando's redesign is not so felicitous. For tions determined the character of the cur- rated by glass mullions set at right angles. Another absolute rule of architectur- a series of highly practical reasons, the tain w a l l . Therefore, the glass panels t o o k The glass walls in the double-height lobby al development in the automobile Modern's parking was placed out-of- on the same vertical p r o p o r t i o n as the of H a r r y Cobb's h m m t a i n Place in Dallas obsessed United States is that any institu- doors on both the west and south sides of metal panels, necessitating Aiulo's design and ot Barnes' Carnegie Institute of A r t in tion must provide casy-to-find and well- the b u i l d i n g . Thus, a visit to The M o d e m o f a consistent grid w i t h t w o horizontal Pittsburgh are virtually the same height as lit p a r k i n g accessible to the entrance. This has the c o m f o r t i n g l a m i l i a n t y ot a visit to mulhons (to create a tripartite vertical those <'l \ n d o s museum in I on Worth has lead urban art museums into contor- one's doctor or accountant in a suburban division! to contrast w i t h the doubled and maintain the- shimmering weightless- tionist real-estate deals a n d , in certain office complex. aluminum panels, '["hen, due to reasons ness that A n d o sought. Yet the Modern's cases, to build their o w n p a r k i n g garages. lust as the exterior ot the building was both of energy and light requirements, staff and trustees' desire for optimal c o n - Several of the competition entries to the transformed during the process ol transla the glass itself became a triple sandwich. ditions for the conservation of w o r k s ot Modern proposed underground p a r k i n g , rum, so roo were the interiors, particularly To support this weighty element, A n d o art (in terms of ultraviolet light and tem- and like the others, A n d o protected the the galleries. Ando's competition envi- elected to use iVticsiaii I I section m u l - perature gradients) ruled out an architec- primacy of his architecture f r o m the visu- sioned a cleat alternation of 24-by-144 hons. because these mullions were direct- tural solution in keeping w i t h Ando's al p o l l u t i o n ot the automobile by design- foot concrete buildings placed 40 feet apart ly attached to the a l u m i n u m g r i d , they original design. The necessity for opaque ing covered parking under the adminis- willi larger-scale intervening spaces that had to be coated w i t h an aluminum-col - panels and for a thick sandwich of vari- trative/cducational/social w i n g . This deci- accommodated freer internal partitioning. ored surface so as not to clash c h r o m a t i - ously coated glass made Pilkington's sys- sion w o u l d have ensured that the A n d o Ibis alternation ot confined rooms and cally. These t w o systems, when c o m b i n e d . tem — acceptable in Pittsburgh's cooler building was viewed f r o m a landscape free space was intended to give the building fife 5 7 I 2 o o 3 | i p f i n a 29

Concrete ond gln» gallery bays. Interstitial gallery on second floor. an architectural rhythm that permits the ihe gallery spaces, where the other system installation of works of varying scale, style, of light is a clerestory, there is a good and material in spaces appropriate to them. deal more sense of variable natural light. It was also designed both to break up and On both the lower and upper floors to organize exhibition conditions so as to of the galleries, all the wall surfaces on minimize museum fatigue. On the upper the interior of the concrete buildings are level, this double nature was stronger white-painted sheetrock, like those in the because of the alternating systems of natu- Menil Collection and the Dallas Museum ral light that are, to my mind, the most of Art. There is little attempt to differen- important contribution of the building to tiate between the concrete buildings so gallery architecture. The confined galleries fetishi/.ed on the exterior and the inter- are lit directly from above, and the light til- vening spaces. This is a pity, because, had lers through a curved, opaque glass ceiling the exterior walls of the concrete build- light that tills the ceiling completely. By ings remained concrete, works of art contrast, the long east west walls of the could hang easily against them, as they free spaces (those outside ot the confined do against the travertine of the Kimbell galleries) are lit by rows ot clerestory win- Art Museum, and be washed by the natu- dows, the light from which is directed onto ral light front the clerestory windows. the walls by curved surfaces based on the The rare places in which works of art tin traditional coves of Beaux-Arts galleries. hang on concrete (on the second level off 1 lence, the ceiling in these larger, freer the sculpture garden), they look superb. spaces seems to be suspended between Instead, the museum's consistently white planes ot a light-struck wall and is dark by walls homogeni/i an experience that tht contrast with the pure light ceiling of the architect intended to be differentiated. gallery rooms. This is particularly problematic on the Ando intended normal shifts in natu- lower level, where the differences of ceil- ral light to enliven the interplays "I light ing treatment caused by skylights and to-dark ceilings and naturally-to-artifi- clerestory windows are nonexistent. I also cially lit walls. Any visitor to the natural- found the partitions of the free spaces to ly lit galleries in Kahn's Kunbell museum be more intelligent and architecturally experiences shifting light temperature and integral in the competition plans than in direction as the day progresses and the final building. It is likely that the clouds drift across the sky. Due to the rig- explanation for this regularization of orous intervention ol the Modem's light gallcr\ wall surfaces \\.is a demand ol the Consultant, George Sexton, the natural curatorial stall, who wanted uniformity Grand stair 1o •second lloor. light ot north Texas has been so effective- so that they could install work with in.is ly filtered that it is difficult to experience miuin flexibility. II so, this is a pity. as natural light. Sexton developed a stun- Uniformity and flexibility are not quali- ningly simple "double gradient" of apcr- ties of great architecture. ittres lor statural light above the opaque In the press and among visitors to glass ceiling lights in the second floor gal- the Modern, there has been much discus- leries. These vary gradually from mini- sion about Ando's mastery ot concrete. mum to maximum apertures as a direct The tales told by the staff, docents, and result ot the screen's distance troni the other tour guides about the expensive light source — a long slit in the roof, Finnish plywood tonus are now legend invisible to the viewer and similar in scale in the area, and visitors know to caress to that in Kahn's Kimbell Museum of Ando's silky walls. The tactile effect is Art. This system results in light of almost extraordinary, even to those of us who complete uniformity and chromatic tem- knew Louis Kalin and who had the perature, making the ceiling seem to chance to work with him and the lorm inanv visitors as it it is artificiallv lit. In workers at his various projects. Kahn's 30 spiingiiani I f i t e S 7

installed by A l f r e d Barr, led to the w h i t e- Poussin, and C h a r d i n . It is clear that the walled commercial galleries of '40s and Modern in Fort W o r t h is part of this tra- '50s N e w York. This domestically scaled dition ot ennoblemen t Of all the b u i l d - and unpretentious f o r m of modernism ings in the competition , Ando's was the persisted in the design of spaces lor m o d - most architecturally ambitious and the ern art throughout the mid-century and most monumental. Yet far f r o m being was b r o k en in |S»59 by the brilliant entry aggressive, Ando's b u i l d i n g has a serenity of f r a n k L l o y d Wright's late masterpiece and subtlety of massing that might be for the Ciuggenheim M u s e u m I w h i c h he mistaken for architectural modesty. T h i s originally designed to be reddish-brown!) , building, as we have seen, is a n y t h i ng bin lor W r i g h t , and for his patrons and their modest, and its imagery of floating pavil- advisors, modern art constituted such a ions whose roof's are supported by thrust- fundamental break f r o m historical art ing columns dominates utterly. M o d e r n that it needed spaces as experimental as art is great art at Ando's M o d e r n . the art. N e w York became a battleground in the tight between the c o o l , modestly Conclusion domestic and neutral modernism of The M o d e r n contributes much to the MoMA and the architecturally aggressive debate about modernity and contempo modernism of The Ciuggenheim. raneity in art. Yet the b u i l d i n g raises as Generally, modern art museums in many questions as it answers w i t h its the United States have followed M o M A ' s inaugural installation of the M o d e m ' s model of restrained elegance and m o d - impressive but spotty permanent collec- esty. To this has been grafted a t r a d i t i o n tion. On the lower level, w o r k s by canon- o f placing contemporary art in raw ical artists of the mid-century are housed spaces created tor industrial use in the in spaces w i t h no natural light — a |9rh and earlier 20th centuries, MK\ this strange choice, since paintings by trend, started in Europe, n o w plays well Rothko, Motherwell , Guston and Pollock internationally. T h e rationale of both would benefit f r o m daylight. T h e second- neutrality and rawness is that experimen- floor galleries are filled w i t h experimental tal modern art is best seen in spaces thai art — often photographic, hence light- are adaptable, inexpensive, and well pro- sensitive — ot the past decade or t w o . Stair al end gallery bay portioned. The quality ol light and the The placement of these w o r k s in galleries neutrality of color are more importan t o f such expense and refinement forces the than an interactive architectural character viewer to accept them as great w o r k s or an interplay between the formal quali- rather than to recognize that they, like all ties of art and those of architecture. The recent w o r k s ol art, must withstan d at other subtext of this notion is that m o d - least a generation of criticism and e x h i b i - ern art is not to be associated w i t h bour- tion belore lhc\ .ire ellectiveh c a n o n i / c d . waved p l v w u o d forms, his lead plugs, chromatic differentiation w o u l d be desir- geois luxuries and thus, w i t h the decorat- Yet tor me, the biggest disappointment of and his insistence on sharp corners must able. But in a building ot such overarch- ed interiors ot what might be called the the M o d e r n is not that the collection has be the source tor Ando's even more ing refinement, such accidental-looking Beaux-Arts museum. weaknesses (no Johns or Kauscheuberg, relined systems ot p o u r i ng and treeing the variation doesn't w o r k to the building's During the past generation in both for example, and not a single w o r k of walls f r o m the molds. Yet, to the eyes of advantage. The Pulitzer Foundation and F.urope and the United States, m o d e m art modem art f r o m before 1940), but that many w h o have visited oilier A n d o p r o j - Ando's w o n d e r f u l house in Chicago have has so completely t r i u m p h e d over O l d A b u i l d i n g conceived w i t h such brilliance ects, the p r o b l e m w i t h the concrete at the concrete walls both lighter in color and Master paintings in both the market and was not realized w i t h a respect equal to Modern is neither its surface texture n o r more consistent than that in Fort W o r t h . the public imagination that museums that brilliance. We k n o w f r o m c o m p a r i - us razor-sharp corners, but rather the designed to house it began to ennoble son to the Kunbell that the installation color and us umsistciic) throughout a Ando's Museum in Context modernism. W h e n considered as a g r o u p , at the opening can be completely trans- wall. Texas is tilled w i t h concrete b u i l d - The M o d e r n ' s mouumeutality and archi- the recently completed museums of m o d - formed and improved t h r o u g h time. Yet ings ol real refinement ll'ei's Dallas I itv tectural a m b i t i o n must he considered m ern and contemporary art in San we must remember that it was Louis I i.ill and Johnson's T h a n k s g i \ ing Square relationship to the architectural traditions Francisco, Los Angeles, and Chicago (or, Kahn w h o completely redesigned the Chapel, for example, are extraordinar y in of the modern-art museum. In 1^.39, the outside the country, iu Maastricht , Kimhell so that it c o u l d be built w i t h i n color, consistency, shape, and tine), l-'or New York M u s e u m ot M o d e r n An erect- Hamburg, or Monterrey) , have become budget. One suspects that it was less that reason, and because of the p r o x i m i t y ed its first building, « hose high m o d modernist palaces raised on podiums that Ando w h o undercut the M o d e m than of the k i m h e l l Art M u s e u m , it is possible enlist street facade protected artificially are, in effect, Beaux-Arts museums w i t h - Peter Arendt, l.inbeck Construction , to w o n d e r about Ando's o b d u r a t e, and to lit galleries w i t h l o w ceilings. This build- out the ornament. If modern or contem- and their bosses, the museum's generous m j eye, deadening mid-value cool gray ing's system of small rooms, non-load- porary art is housed in buildings ol this donors and its senior staff. A sublime color. Also, in numerous instances the bearing, brightly lit white walls, and effi- splendor and a m b i t i o n , surely this art conception — one of the very greatest in building suiters f r o m visually disruptive cient staircases came to be associated must be as great as that of the O l d the history of museum design — has coloi variations w i t h i n the w a l l . If the with .111 aesthetic ol the M o d e r n In many Masters. Pollock, R o t h k o , Sherman, and become a great b u i l d i n g that could have building had a beU»i brut quality, such ways, the rooms ot the M o d e r n , as lust Kiefer become Raphael, Rembrandt, been sublime. •