Word: breughels
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Rockwell's tastes in past and present art are entirely what his work would lead one to expect. He venerates Rembrandt and Breughel. He feels the normal awe for Michelangelo, but explains, "Michelangelo is not my star. If I could own an original, I'd rather own a fine Howard Pyle." Among his favorite contemporaries are Thomas Benton, John Steuart Curry, the late Grant Wood. He says "you can learn a tremendous lot from the abstractionists and so forth." But he adds that his own feeling for art is remote from the modernists'-"I like to please...
...this kind of hullabaloo could not obscure the most important fact: quiet, stocky William Gropper, a punch-packing cartoonist, is a still better painter. He paints as he draws, quickly and simply, without benefit of model, in reds, blues, yellows, whites. His masters are Breughel, Goya and Daumier. He does not disgrace them. Typically class-conscious canvases at the A. C. A. show: The Shoemaker, who is mending other men's shoes while barefoot himself; Brenda in a Tantrum, which shows 1939's Glamor Girl No. 1 streaming indignantly through the air; Art Patrons...
...Alfredo Gramajo Gutierrez's Election Day in the North of Argentina, a colorful crowd of sombreroed men voting, drinking, eating, playing mandolins, smoking and electioneering, painted with an eye for detail that recalled the jampacked canvases of Pieter Breughel...
Fiene embodies some of the controlled but outspoken realism of the elder Breughel, sixteenth century Flemish master. In Breughel's work, we see the underlying and basic connection of man with nature. His men and women are integral parts of the landscape; humanity is just as deeply rooted in the earth as a massive rock or a tree. Fiene speaks much in the same manner. His men are on a par with the countryside which they inhabit. But his is a new kind of landscape, one bristling with cranes and pulleys, a valley of machines whose wheels seem...
...Worcester was Memling's Martyrdom of St. Sebastian, from Brussels; among the 17th-Century paintings, Rubens' Holy Family Beneath the Apple Tree, also from Brussels. Principal weakness of the exhibition in the eyes of modern students was the fact that it included only two pictures by Pieter Breughel the Elder, the dominant Flemish genius of the 16th Century. At time when the guilds were breaking up and Italian Renaissance influence wa; breaking in, Breughel painted mischievous magnificent scenes of everyday Flemish life. The Worcester exhibition left U. S students still obliged to go to Antwerp Brussels and Vienna...