Caroline Morgan

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Shaker Design

In 1935 the Whitney Museum mounted the first comprehensive exhibit of Shaker artifacts, celebrating the simplicity and harmony of the Shaker artistic vision. This past summer, the Whitney opened a much more ambitious show of “Shaker Design,” later shown at

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Remembering Roswitha

Do you remember Hrotsvit (Roswitha) of Gandersheim, mentioned in the survey of world literature that you took as an undergraduate? “The first female German poet, the first dramatist of Germany, the first person in Germany to employ the Faust theme,

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Without a Barrel

Thundering through the Falls of Niagara is the overflow of all the Great Lakes except Lake Ontario. The combined waterpower of Horseshoe Falls and American Falls has been estimated at some four million horsepower. Both Falls drop more than 150

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Treasures From Spain

In an extraordinary gesture of international goodwill, the Spanish Ministry of Culture this past fall selected the rarest books and manuscripts from Spanish libraries for an exhibition at the New York Public Library. Items on display ranged from a 13th-century

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The Thousand and One Knights

Originally published in Catalan in 1490 and now newly translated by David H, Rosenthal, Tirant Lo Blanc is a prose masterpiece written by the Valencian nobleman Joanot Martorell and completed by Marti Joan de Galba after Martorell’s death. Written when

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Class Acts

There is a kind of unity in Sam Shepard’s career—as dramatist and actor—that seems the result more of art than of chance. A new staging of his 1977 play Curse of the Starving Class gives us a rare opportunity to

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On the Waterfront

Singin’ in the Rain, now playing in New York, is wonderful fun and a witty commentary on the world of Hollywood musicals. Unfortunately, the main focus of the plot—Don Lockwood’s romantic interest in sweetnatured Kathy Selden—is weak. Lina Lamont,

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To Market, to Market

With the rising interest in art education in this country, these two books have appeared at an opportune time. John Hardy translates several essays by the brilliant art historian Max Dvorák that originally were published in Kunstgeschichteals Geistesgeschichte in 1924.