Word: artists
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Dates: during 1970-1979
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...when his father finally gave in to his insistent artistic aspirations, Edgar-Hilaire-Germain de Gas (who, spurning the aristocratic connotations of the original, later changed his name to Degas) sought out his revered mentor. He asked Ingres what he should do to become a great painter, as if such advice could be capsulized into a brief rejoinder. But Ingres, never at a loss for a fast and memorable answer to bottomless questions like this, told Degas simply: "Draw lines, young man, many lines, from memory or from nature; it is in this way that you will become a good...
...unerring sense of line, of precise and premeditated artistic construction that Degas went on to develop subtly underlies all of the forty-odd pieces of Degas sculpture now on exhibit at the Fogg. Except for a few interesting but unexceptional busts and one bas-relief, practicing ballet dancers, race horses and women bathers--mostly emerging from tubs or toweling themselves off--make up the entire collection. These subjects, which Degas studied repeatedly throughout his career, gave the artist the chance to display his mastery of anatomy and apply his taste for classical design...
...abstract principles that underscores all of Degas' work. Cultivating his credentials as a budding talent at the Cafe Guerbois in the early days of his career, Degas kept company with many of the great impressionists. These aesthetic revolutionaries sometimes went so far in theory as to advocate that an artist try to unlearn all the stylistic tricks of the trade, plant his easel in the middle of the wilderness and let nature itself rule his brush. Degas, however, eschewed this "surrender to nature" and insisted that the final construction and perfection of an artistic vision must take place...
...when trying to impart lessons, what a poseur Ensor was! Every Christ he painted is trivialized by his narcissistic equation of the suffering God and the rejected artist. It is customary, at least in Belgium, to see Ensor as a man of the people. But Ensor's waterfront lumpenproletariat look just as subhuman as his judges and police officers. As a political artist, he was both strident and unfocused. The Good Judges, 1891, is a curdled parody of Daumier, without the master's swift economy of feeling. It is impossible to tell what Ensor thought about politics, except...
...Portrait of the Artist as a Young...