Word: brush
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Dates: during 1960-1969
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...period from about 1763 to 1767 Copley developed a heavier impasto and a freer abbreviated brush stroke which is highly reminiscent of the late portraiture of Frans Hals. By 1765, Copley finally had his technique under control; his work became more straightforward and simple as if clearing away the unnecessary baggage in preparation for a new excursion...
...unify his compositions and he made them responsive to each other instead of isolating them in the composition. He also abandoned much of the sharp contrast of color that earmarked his earlier work and he emerged with a more Rembrandtesque palette. His chiarascuro in this period intensified and his brush stroke became more exhuberant, bringing him into a closer affinity with the baroque Dutch masters. One of the most striking developments that emerged at this time was the perceptual depth of his painting. In works like Mrs. Humphrey Devereux he concentrated greater depths of psychological perception and achieved a more...
...fascinating idea, giving Harvard to non-academics on their own terms. But few of the visitors explore the breadth of the University. Most use Harvard just to brush up on their own particular fields of reporting. Science writers study science, business writers study economics...
...when paintings have grown large enough to require flatcars for easels, and brushstrokes have turned into mighty walls of color bright enough to divert low-flying aircraft, a Lilliputian touch is welcome. Such is the mark of Italy's Gianfranco Baruchello, 41, whose works seem painted with a brush one millimeter wide to produce meticulous yet mysterious images that float across glossy white panels like microbes creeping from an infested imagination...
...hard to see why the 19th century trail breakers despised Bouguereau (Cézanne cried, "J'emmerde Bouguereau!"; Matisse fled his studio in anger). Though his brush stroke was immaculate, his subject matter tended toward soaring echelons of well-stuffed nymphs in the buff, ruddy satyrs in postures of half prayer, half lust. When religiosity overcame him, he produced limpid-eyed madonnas and tableaux of martyrs (preferably female) borne by Roman-nosed pallbearers (preferably male). In the heyday of the Second Empire, no one admitted being titillated by his tangles of tushies and concupiscent cupids; the critics professed...