Word: bruegels
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Dates: during 1970-1979
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...artist of stronger social engagement than most of the abstract expressionists, Smith tried his hand at political propaganda with a set of Medals for Dishonor inspired by the Spanish Civil War, later with a number of drawings that tried, in effect, to do a Bruegel on fascism. These desolate landscapes, populated by knotty women copulating with cannon, are postsurrealist cliches-although they make clear Smith's erotic feelings about steel. Even so, they are full of the harsh, graphic intensity that would soon burst forth in his sculpture...
...pregnant were herded out stumbling onto the streets. Several pathetic cases were pushed along the road in their beds by relatives, the intravenous bottles still attached to the bedframes. In some hospitals, foreign doctors were ordered to abandon their patients in mid-operation. It took two days before the Bruegel-like multitude was fully under way, shuffling, limping and crawling to a designated appointment with revolution...
Textures and Details. Gilliam has issued a statement urging people not to compare his movie with the Pythons' work, gibbering on about "textures" and "details," calling Bruegel and Bosch to his side as witnesses to the truth of his vision. But Jabberwocky is not a grand enough failure to sustain such comparisons. It really is marked-down Pythonism, which proves that in enterprises of this sort, several heads are better than one. Richard Schickel
...perhaps products of human expression. On the evidence of Talking to Myself, Terkel has rarely sought out people who actually run things. An indefatigable romantic, he prefers the "mute, inglorious Miltons" among the underdogs: the Welsh miner with a taste for the impressionists, the Cockney waitress with a Bruegel print on her wall, the Swedish miner who quotes Gibbon. Terkel is moved by what he takes to be the oppression of such people. As he presents them, though, they seem to be doing very nicely indeed...
...piece than an opera. The evening owes its success mainly to Hal Prince's (West Side Story, Cabaret, Fiddler on the Roof) making his debut as an operatic director. He is a master of illusion. There is a scene of villagers applauding a fire-eater that visually recalls Bruegel, a ridiculous pas de deux between the queen and a giant rooster. In a final Princely touch, darkness envelops the opera house. Then the spotlight focuses on the demon Ashmedai, who is smiling down from a box in the theater; it is a visual grace note that will outlast anything...