Word: bonnard
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...brushstrokes; the color -- mostly pink -- is bright and boring. Yet you could never write De Kooning off. He came back in the late '70s with some big, rapturously congested landscape-body images with a deeper tonal structure that, though they do not support the comparisons to late Monet, Renoir, Bonnard "and, of course, Titian" that David Sylvester makes in his catalog essay, certainly confirm that the movement of De Kooning's talent was not on-off, but ebb and flow...
...density," a favorite word. Nowhere does his work show a sign of the metaphysical yearnings of the New York school, still less its primitivism. Porter's was very much a modernist vision, but classically so; its main source was Paris, and its exemplars were the great Intimists Pierre Bonnard and Edouard Vuillard. From them, as Agee notes in his catalog essay, Porter learned to "paint what you know, what is given to you, what is in front of you, and let the painting speak for itself...
...Porter be called a master of figure painting? In truth, no; there was always something awkward about his handling of the human body, a Yankee stiffness that prevented him from emulating the sensuous fluency of Bonnard. The figures in his paintings are always in the right place, formally speaking. He was a wonderful arranger, with a stringent and finely honed eye for the needs and eccentricities of pictorial composition. But at the same time, his paintings don't suggest much feel for the movement and solidity of the body. His work prefers sociability to sensuality -- a trait shared...
...turn of the century: the son of a Danish father and an Anglo-Irish mother, born in Munich, fluent in German and French. When the general histories of modern art mention him at all, it's as a small footnote to the Symbolists and the Postimpressionists, like Bonnard (the nudes in bedrooms) or Toulouse-Lautrec (the music-hall scenes). But one needs to remember that Sickert was slightly older than most of these painters. He was born in 1860; they hardly influenced him at all. The men who did were pre- rather than Postimpressionist: Whistler, Manet and, above all, Degas...
...from Stephen Clark, Sam Lewisohn and Robert Lehman. Annenberg's paintings include several Cezannes, most conspicuously the great 1902-06 panorama of Mont Sainte-Victoire, so different from the Met's more constricted version of the same subject. The collection includes works by Gauguin, Monet, Manet, Toulouse-Lautrec and Bonnard, and a group of Monets from the 1870s -- a phase of the master's work not well represented at the Met until...