Word: bonnards
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Dates: during 1970-1979
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...stacked up on the canvas. Within this format, Rothko for the next dozen or so years produced one of the most articulate, subtle and prolonged meditations on color in the history of Western art. It had no real parallel among American painters: one needs to go to Matisse or Bonnard to find anything like its expressive scope and patient single-mindedness. Then came the forays into an increasing darkness, the mute theatricality of his penultimate paintings, the wide blackish-plum surfaces that scarcely "breathe" at all, and the dull, fiddling solipsism of the last works...
...priceless collection of 18th and 19th century British paintings to Yale, had been considered the most likely foreign buyer if the Tate fell short. But Mellon, a self-styled "galloping Anglophile," felt the paintings should stay in England. He contributed four paintings from his private collection, two Vuillards, a Bonnard and a Giacometti, to a benefit auction. They went for about $90,000, and soon, with more than a little help from the British government, the two Stubbs found themselves safely ensconced in the Tate. British art lovers could breathe easy?for a while at least...
...someone who knew him, because there was no sign of forced entry. To know Maitland was to loathe him; he was a foul-mouthed brawler, a womanizer, a raging egomaniac. But he was also a genius of the first order, the finest painter of female nudes since Matisse and Bonnard. In recent years his paintings have sold for up to $100,000, and presumably prices will rise after his death. Who covets the paintings, or the money...
...masterly a demonstration of a sensibility in growth as any living painter could set forth. He is not, as the condescending tag once read, a California artist, but a world figure. He is not an avant-gardist either, and his work keeps alluding to its sources: the color to Bonnard and Matisse, the strong, fractionally unstable drawing to Mondrian and Matisse again. Diebenkorn's best paintings mediate between the moral duty to acknowledge the ancestor and the desire to claim one's own experience as unique, unrepeatable. In short, he is a thoroughly traditional artist, for whose work...
...bookkeeping was vague, his meanness unpleasant-it was Vollard who kept Gauguin on short rations in Tahiti-and his narcissism immense. "The most beautiful woman who ever lived," said Picasso, "never had her portrait painted, drawn or engraved more often than Vollard-by Cézanne, Renoir, Roussel, Bonnard, Forain, almost everybody in fact. He had the vanity of a woman, that man." But he also had an exquisitely tuned eye and a great deal of patience; the combination enabled Vollard, as publisher, to master the innumerable problems involved in producing major collaborations between artist and text...