"Tell me, Harry, what's the consensus in your cell block on saving the Old Met?" That line spoken in Whitney Darrow, Jr.'s New Yorker cartoon by a prison-visiting wife indicated the feeling generated as scheduled demolition of the 83-year-old Metropolitan Opera House drew near. It's hard for the generations of opera lovers born since to realize the emotional impact when the Save-the-Old-Met drive failed to halt that demolition. Among those who reacted was Judith Clancy. As a small girl living in a New York tenament her love of music and the dance had been nurtured from the Family Circle high up in the Met. She returned to New York before the demolition to make these drawings, the last of which was finished as the lights went down for the final performance in the house. Her book--drawings and text--is a personal last portrait of that house by a talented artist who dreamed there as a child, studied there as a dancer, learned there to love ballet and then the opera and who was courted there.
"synopsis" may belong to another edition of this title.
Judith Clancy (1933-1990) was an artist whose work--included in major museums, public and private collections here and abroad--focused on drawing. Her work graced the pages of books by such authors as Peter Mayle (A Year in Provence and Toujours Provence) and M.F.K. Fisher (As They Were and Last House, as well as their collaboration on Not a Station But a Place)as well as her own books (listed below)and such magazines as Gourmet, The New Yorker, Architectural Digest and California Living).
"Beautifully evocative line drawings." -- Opera News
"Judith Clancy, who drew them, writes as beguilingly about herself as she draws the old Met." -- Mary Campbell, Associated Press
"There is a gaiety of line which captures, in black and white, the golden opulence of the magnificent old relic. In the drawing of the Family Circle, which was even higher than the last elevator stop, one can almost smell the garlic." -- San Francisco Examiner
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