Word: avigdor
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Dates: during 1970-1979
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...painting, and in all emotional temperatures, from gelid beaux-arts nudes to the expressionist rant of political muralists in East Berlin. Much of it was instant art, and instantly disposable. But a striking deposit of achievement remains, and one of its components is the work of the Israeli painter Avigdor Arikha. A scrub-haired, passionately erudite man of 50, Arikha is best known in Paris, where he lives with his wife Anne, a poet, and his two daughters. Now a show of 22 of his oils at the Corcoran Gallery of Art in Washington, D.C., gives an American audience...
...independence of Lebanon," declared Major Sa'ad Haddad, the Lebanese Christian commander. "But I recommend that if the U.N. forces do not keep the area clean of terrorists, the Israeli Defense Forces enter again to help us." That sentiment was echoed by the Israeli commander, Major General Avigdor Ben-Gal. Said he: "We did not and will not turn our backs on the people of Lebanon...
When her father dies, she dons male garb and enrolls in a yeshiva, a school for rabbinical studies. Assuming the name of Anshul, she becomes increasingly fond of her fellow student Avigdor (John V. Shea). The sundering of a marriage contract has left Avigdor desolate at the loss of a comely local girl named Hadass (Lynn Ann Leveridge). Avigdor conceives the idea that if he cannot have Hadass, Anshul shall. Anshul/Yentl goes through with the marriage, and she manages to keep it deceptively intact, though Jehovah alone knows quite...
...access of love for both Avigdor and Hadass, Yentl reveals to Avigdor that she is not a man and files a bill of divorcement so that her two dearest friends may marry. Even for a fable, that is a little too fabulous. Shakespeare was able to get away with the man-woman mistaken identity gambit because he imbued it with humor, poetry and a sly fencing of the sexes. But that is not the case here, where the prevailing mood is one of folkish piety...
...nudes and portraits by Lucien Freud, the 52-year-old grandson of Sigmund: more psychic territory is crossed in Freud's scrutiny of a few square inches of worn flesh than one might find in a whole roomful of recent American realism. A similar process happens in Avigdor Arikha's tenacious and diffident still lifes. They are small monuments to the difficulty of naming any object. And like many of the other works in this show, they testify that painting as a form of expression is still wide open, still able to surprise us - not dead...