Word: artistes
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Dates: during 1960-1969
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Sharing one of Disney's weaker traits, the Beatle cartoon shows a depressing proclivity toward the literal. The scriptwriters' labored commentary is too often illustrated by the artist-animator, rarely complemented; most irritating, some of the Beatles' best songs are taken completely at face value rather than interpreted. Thus, Lucy In The Sky With Diamonds is accompanied by diamond-studded women standing on stars, Eleanor Rigby juxtaposed with silkscreened photographs of lonely people. Paradoxically, Yellow Submarine's best moments come during the literal Lucy In The Sky number, when Edelmann treats his audience to contour line drawings filled with rapidly...
...Beatles served up. A Hard Day's Night and Help! succeeded in part because of Richard Lester's careful, if striking, contrasts between the Beatles, the world, and the dramatic action of the plot. The cartoon Beatles--their voices strangely unrecognizable--are, by virtue of being drawn by the artist who drew the backgrounds, homogenized into the whole, unable to impose their familiarly irreverent personalities or make believable the ad-libbed observations the writers have given them to mouth...
...brushwork is highly personalized and uninhibited. The earthy zest and pounding rhythm of Luca Giordano's 1702 Crucifixion is all the more remarkable because the artist turned out his work at maximum speed; in his day, he was known as Luca fa presto, or Fast Worker Luca. Giovanni Antonio Pellegrini's Fall of Phaëthon is built of thin, semitransparent layers of oil paint and has a lightness that the finished fresco undoubtedly lacked (the sketch has outlived the fresco, which was destroyed in World...
...both these oil sketches is a genuineness of inspiration that has nothing to do with techniques. As Wittkower observes, the finished fresco had to be made solid and impressive with all its forms and symbols differentiated and understandable. Patrons expected such qualities. But in the preliminary sketch, the artist was working for the moment-and thus shares with the viewer the freshness and spontaneity of his initial vision...
...intentions, in fact, become his talent-a rude, almost barbaric thrust that can seize a blase Broadway crowd and wring it dry, half from fatigue, half from an emotional buffeting that no other American playwright ever inflicted on an audience. O'Neill could do what only a major artist can do: make his public share in the life of his private demons...