Word: artfully
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Dates: during 1970-1979
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Dumas was not alone in his fury. The French political journals, center and right, ravaged Courbet for years, and beside their vilifications the attacks on impressionism and cubism were mere Ping Pong. Such vehemence only rises from the conviction that art changes life: that painting has a public role...
...history painter as well as factual witness; and there he could be very puzzling indeed. The debate on Courbet has been stepped up by a magnificent retrospective that opened this fall at the Grand Palais in Paris and will move to London in January. With a catalogue by Art Historian Helene Toussaint, it brings together more than 140 paintings and drawings, centered around the huge machines that normally hang in the Louvre: A Burial at Ornans and (all 11½ ft. by 19 ft. of it) The Painter's Studio...
...format is a Last Judgment-Courbet painting in the middle, his enemies to the left, his friends to the right. "On the right, all the activists," Courbet explained in a letter to a friendly critic, "that is to say, the friends, the workers, the lovers of the world of art. On the left, the other world of trivial existence, the people, misery, poverty and wealth, the exploited and the exploiters, the people who feed off death." Some of the figures, particularly those on the right, have long been identified - Baudelaire, Proudhon, the critic Champfleury. Professor Toussaint, however, gives a complicated...
That Obscure Object of Desire is Buñuel's free-flowing meditation on Mathieu's fall from bourgeois grace, and like so many films by this great surrealist director, it is art of the most subversive kind. Buñuel wants the audience to see the world as he ultimately forces Mathieu to see it-as an irrational state where logic is a worthless tool. In Obscure Object the director never bothers to explain Conchita's stubborn celibacy or any of his story's other absurdities, for he does not believe that any explanations exist...
...anarchy of Bu@#241;uel's vision, there is nothing chaotic about his filmmaking style. At 77, he is in such fluid touch with his 'medium that he seems incapable of staging an awkward shot. The movie appears to flow directly from his subconscious, just as surrealist art is meant to do. Fernando Rey, a veteran of a decade of Buñuel films, finds as much baroque humor in his many bouts with coitus interruptus as he did in the unfinished eating scenes of The Discreet Charm of the Bourgeoisie. The two mysterious Conchitas - one svelte (Carole...