Word: artists
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Dates: during 1970-1979
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...magnificent obsession of Sachio Yamashita is to turn the gray streets and buildings of Chicago into a splendiferous explosion of color. "The whole city is my canvas," declares the slight, goateed artist, who left Japan in 1968 to join the faculty of Prairie State College in Chicago Heights. So far, with the help of small contributions from the city, the U.S. Government and the Stone Foundation, Yamashita has painted the side of an old apartment building with a picture of waves surrounding Mount Fuji, hung a thick, 165-ft.-long, rainbow-hued rope from the roof of another structure...
...highly competitive world of weaponry, some military hardware is considered more desirable than others. An artist's rendition of the most sought-after arms on the market today (from lower left): Soviet Union's T-55 battle tank (estimated exports: 14,500), AK-47 combat rifle (225,000), SA-2 ground-to-air missile (8,000) and MIG-21 fighter-bomb er (1,900); the U.S.'s Sidewinder air-to-air missile (12,000), CH-47 Chinook helicopter (309), F-4 Phantom fighter-bomber (1,100), C-130 Hercules transport (230), F-5 fighter-bomber...
...have influenced a great artist may not make a painter great, but it does help make him interesting; and probably no one had more impact on William Blake than John Henry Fuseli. To look at Blake's nudes and then at Fu-seli's, with their rhetorical gestures and armor-plate muscles, is to sense this. Then reckon in Fuseli's eccentricities, which though irreligious were akin to Blake's own, and it seems clear why the younger painter spared Fuseli the contempt he felt for nearly every other English artist of his day. Fuseli...
...work stems: the heroic figures bulging against a flat, gloomy space, the hunched or springing poses, the search for an atmosphere of sublime effort. Even the mannish faces Fuseli gave his witches and bizarre courtesans hark back to Michelangelo. So, in fact, did his idea of the artist as hero: Fuseli raised this romantic chimera to a mock-religious pitch by proposing to fresco another Sistine in homage to Shakespeare. Only a few studies for this project survive; it was too grandiose and expensive to be carried out. His fixation on Michelangelo was such that when painting Sin, Pursued...
Gold Buttons. "Simplicity" and "innocence" were Pepys' dominant qualities, counters Ollard, the arch defender, while allying himself to another camp of Pepys interpreters, the 20th century aesthetes. For them, the true Pepys was a sort of underground artist, living in the silence, exile and cunning of his diary. Certainly Pepys was an avid collector of fine-bound volumes, which he arranged according to their height rather than subject matter, and he had a portrait of himself painted with a scrap of musical score in one hand. There is something more than a little bogus about Pepys the aesthete...