Word: artistically
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Dates: during 1970-1979
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...rendered copies in realistic settings. Captured on film by Frenchman Jean Vertut, who specializes in photographing cave art, a Lascaux mural of horses, bulls and stags covers an entire wall of the show. Designer Henry Gardiner's theatrical lighting suggests the flickering oil lamps by which the cave artists must have worked. The exhibit also includes elegant silk-screen reproductions crafted by Douglas Mazonowicz, an artist and writer who has studied rock art around the world. Perhaps most impressive of all are the full-size replicas of Cro-Magnon man's sculptures. Some are so meticulously copied that...
...pictures and autobiographical material. What one gathers from viewing the Patterson film and A Woman of Paris is that the two male figures in the latter represent two contradictory sides of Chaplin's nature, which he tried to gloss over. Purviance's first love is an artist, but rather a bourgeois one. His mother shares his garret with him, and his paintings, like his dress and manner, are rather staid. He sentimentalizes virtue, just as Chaplin did in the soppier passages of his own work. As the documentary makes clear, Chaplin himself aspired all his life...
...bring some poetry into painting. That was in. many ways one of the chief effects of the Surrealist movement launched in 1924 by Andre Breton's "Surrealist Manifesto." A pamphlet alone, of course, could not channel the direction of all creative artistic endeavor completely or all at once. Breton was to discover this as early as 1929, when increasing arguments among early Surrealists about the value of automatism began to splinter the group; but in the early 1920s, Breton's writings put forward a new way of looking at life as a whole. Surrealism began as a literary movement...
...their wit, despite the simplicity of the cut-out shapes that compose many of the pictures, express many of the original ideas that animated the Surrealist movement. There is a delight in the absurd and the childish here but, at the same time, you feel almost as if the artist was playing a rather bizarre joke on his audience. He presents shapes and figures that are not the abstractions they appear to be, but symbols. And what you, as an individual viewer, see in thos symbols is as much an indication of your own psychological state as of the artist...
Miro has written, too, of the artist as a vessel: "Rather than setting out to paint something, I begin to paint, and as I paint, the picture begins to assert itself or suggests itself under my brush." This consciousness of his artistic role is completely at variance with the aesthetics of bourgeois art that Rene Magritte and Jean Scutenaire decried for lending art the characteristics of a superior activity, despite its removal from the real-life concerns and activity of most people. They criticized bourgeois individualism in art because "the middle-class artis claimsto express elevated sentiments relevant only...