Word: artists
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Dates: during 1970-1979
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...November 1936, an American artist in New York scrawled a note to a friend in Paris. "This evening," it announced with bitter formality, "I leave for the great beyond." He posted it, went to his room and swallowed an overdose of veronal. Thus, at the age of 55, died Patrick Henry Bruce, aesthete, Virginia dandy, misfit and expatriate, a direct descendant of Patrick Henry and one of the most interesting minor painters of early modernism. In Paris, where he lived for 30 years, Bruce had helped Matisse set up his art school. He was a friend of Robert and Sonia...
Different folks paint with different strokes. But that is no reason why a 20th century artist like Andrew Wyeth should not come to the aid of an 18th century portrait painter like Gilbert Stuart. To buoy Bostonians who are trying to raise $2.5 million by year's end to keep Stuart's famous paintings of George and Martha Washington from eloping to the National Portrait Gallery in that other Washington, Wyeth came down from Maine to contribute to Boston's "Save Our Stuarts" campaign. The guru of Chadd's Ford even posed, check in hand, with...
...question of relevance--how to capture the essence of one's country in a way meaningful to both the artist and his society--haunts South African writers today, Gordimer says. Writers who duck the visceral issue of apartheid find their work irrelevant to their society and in some larger sense to themselves. They are cut off from society, bereft...
Gordimer does not choose Rosa's way--and you sense regret, self-condemnation, and a wry self-knowledge that she could not live Rosa's life. Nevertheless, she seems to have confronted and accepted her personal commitment as an artist. "I do my work. I tell the truth as I see it. I say what I think, here and there," she says, proudly...
...imagines an artist less enamored of the world than of the language we signify it with, yet less enamored of the language than of the signifying narration, and yet less enamored of the narration than of its formal arrangement, one need not necessarily imagine that artist therefore forsaking the world for language, language for the processes of narration, and those processes for the abstract possibilities of form. Might he/she not as readily, at least as possibly, be imagined as thereby (if only thereby) enabled to love the narrative through the form, the language through the narrative, even the world through...