Word: boldini
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...task, which is to show what kinds of art were being made at the last turn of the century, when the idea of modernism in culture was just forming, and when some of the most admired artists bore names you'd hardly recognize today--not Cezanne, Mondrian, Picasso, but Boldini, Carolus-Duran, Zorn, Sorolla, Vrubel, Toorop and Pellizza da Volpedo...
...their lambent color and twisting, linear energies, but also the eclectic products of a tonal impressionist like Jules Bastien-Lepage, with his soulful peasant girls in burlap, what can it mean? To what imaginable modernist context do the many style rétro canvases in this show belong?Giovanni Boldini's portrait of Mme. Max, for instance, or Albert Maignan's Passage of Fortune, 1895, with its gauze-veiled figure of Lady Luck bumping on her wheel down the steps of the Paris Bourse? In such respects, the show will do much to replace the "heroic" image of early modernism?...
...chittering ingenues, is to realize that things do turn out well after all. The right level has been found. New York-not to speak of Rome, Lugano, Paris, Tehran and SkorpiÓs-needed a society portraitist. The empty angel of the '60s has effortlessly become the Boldini of the '70s. The alienation of the artist, of which one heard so much talk a few years ago, no longer exists for Warhol: his ideal society has crystallized round him and learned to love his entropy...
...Etruscan" for his bold, brusque colorism. His vision was acute and reportorial. He sought out such scenes as a cavalryman dragged across a field by his horse or oxen idly sniffing an oddly crumpled hat, the only sign of life in a devastated battleground. Another leader was Giovanni Boldini from Ferrara, who traveled through Spain with Degas and later settled in Paris to paint exquisitely mannered portraits. A third was Vincenzo Cabianca from Verona, who loaded his canvas with oil until its scumbled surface resembled earthen ware, yet caught the rich visual effect of sun-drenched landscape...
...Boldini died in 1931 at the age of 88, blandly unaffected by the storms that had rent the art world since the century began. Among the storms was the "Blue Rider" group, which Vasily Kandinsky and Franz Marc founded in 1911. They extended their hands to all modern artists whose art followed no particular line, but grew "out of inner necessity." As a result, they became associated with all the master rebels of their day-men who were churning up the rules of perspective, blasting out the innards of form, melting down the image to unrecognizable shapes. Manhattan...