Word: artists
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Dates: during 1970-1979
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...Anshutz did not, and Steelworkers -Noontime (1880-82) is the one painting by which he is known: a solidly composed, tight, rather dry performance, closely observed, small in scale (17 in. by 24 in.). It is a terse comment on the nature of work, and. by implication, on the artist's role as a worker. Fifty of his contemporaries in France, England or Germany had the skill to paint it, but undoubtedly would not have chosen such a subject-their tastes ran to peasants, beach scenes, and high society...
...Anshutz was not the only record. A cast of Frederic Remington's bronze Coming Through the Rye-a typical example of the vulgar, illustrative fist that Remington, artist laureate to the Wild West, brought to everything he touched-became the most expensive American sculpture in history, at $125,000. The previous record for an American watercolor ($36,000 for an Edward Hopper in 1970) was broken three times-by another Hopper, Light at Two Lights, at $50,000; a Winslow Homer, Adirondack Catch, at $37,500; and Charles Burchfield's Black Iron, which brought $65,000. That same...
...reconstruct history but to disembowel it; one felt that if he were to try a biblical spectacular, all the extras would be wearing Mickey Mouse wristwatches. His directorial tone has the subtlety of a timp roll played on an eyeball. A new Russell film, particularly one about an artist (the dramatization of artists' lives being his forte, or rather his fortissimo), is therefore to be approached warily -especially with a title like Savage Messiah. What squalling imp have those nuns of Loudun now suckled...
...Davis Pratt, Curator of Photography at the Fogg, has put together handsome exhibition of 20th century photographic masters and innovators. On view until December 31, in Galleries II and III, Contemporary American Photographs dispels the notion that the photographer is any more limited by his tools than the fine artist; for the camera, recording reality becomes old-fashioned, an 18th century idea, compared to the experimental techniques--photo etchings intaglio prints, Polaroid material employed by many of these 33 Americans on exhibit...
...that protrudes from the righthand side of the picture. The distinctness of these evenly-spaced bars of dark and light anticipates the immaculate surface of hard-edge pointing in the 50s and 60s. His later "Basque Façade" (France 1951) shows an obxious knowledge of the work of artist Piet Mondrian who was painting clear-cut balanced grids scattered with blocks of solid...