Word: botticelli
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Women enchanted the brush of Botticelli. Da Vinci is famous for one female smile, Whistler for his mother. Degas captured girlishness from gawky grace to the glamorous fall from it. "So why is it unusual that I paint women?" asks Willem de Kooning, at 60 the foremost U.S. artist still working vigorously in the abstract expressionist idiom...
...Treasury Ministry, will soon share in long-term loans of 857 first-rate paintings. While only the residue of vast hoards of some 80,000 art works repatriated after the war, the art bounty, now in gilt frames stacked like storm doors in the cellar, is resplendent with Botticelli, Cranach, Tiepolo and Titian. There are scads of Flemish masters, but not a scrap of canvas from 19th century France, whose artists Hitler scorned as the fathers of decadent modernism...
...process to print photographs that strike him. "I feel it's so wasteful not to use the images you find around you," he says. In 1960 he finished 34 delicate frottage drawings to illustrate Dante's Inferno, and by using multiple images achieved an effect that neither Botticelli nor Blake, Dore nor Dali, would have dreamed of: he put each entire canto on a single sheet of paper...
Seduced and Abandoned. The girl's name is Agnese, a raven-haired sylph with the face of a Botticelli angel. Head high, eyes cast demurely downward, she moves with easy grace through the cobblestone streets of the small Sicilian village while the camera follows, falling slowly in love with her. So does the audience. Thus Director Pietro Germi eases smoothly into a black and bitter tragicomedy that shows his worldly, wildly wicked Divorce-Italian Style to be an exercise in restraint. In Seduced and Abandoned, by contrast, Germi's underlying despair keeps burning to the surface. "This time...
Avoiding Pedagogy. Botticelli, like a good Old Master, built his works up painstakingly from "cartoons," or planned-out sketches, of his subjects. Often the structure is artfully veiled. In what is graceful enough to avoid pedagogy, Ortman pierces Botticelli's elegant illusion. He analyzes the exacting geometry which the Renaissance artist imposed on his curvy allegory of the feverish season of love, spotlighting by colored panels the gestures that narrate the painting. As on the chessboard, where the rational, 64-square battleground can scarcely contain the emotional knight, Ortman does not let the truth of his analysis overwhelm beauty...