Word: brush
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Dates: during 1960-1969
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...paint, he mixes each pigment he is using with black oil on the palette. Then in a palette cup he stirs up another mixture of (one teaspoon each) mastic varnish and black oil, and a few drops of stand oil and Venice turpentine. At work, he dips his brush first into the mixture in the palette cup and then into the mixture on the palette. Why all this trouble? Safran finds this medium more versatile and easier to work with -and most important, "it makes the painting richer, more alive...
Where once pastel mansions had gilded green canyons, a snaggle-toothed rubble of chimneys now disfigured the Mecca of conspicuous consumption. Raging through the Los Angeles suburbs of Bel Air and Brentwood, a gale-whipped brush fire-the worst in Southern California's history -had sent up in Argenta-mink smoke 447 homes (bottom price: $50,000), left behind more than $24 million in insurance claims, and the flossiest refugees since the Russian Revolution. Among the homeless were Actor Cliff Robertson, Joan Fontaine, Comedian Arnold Stang, Bandleader Orrin Tucker. All that was left of Burt Lancaster...
...might have been a greater artist. But it was not in his nature to be a profound man: it was his impulses, not his thoughts, that were inspired. As his friend Wyndham Lewis said, he was "a great man of action into whose hands the fairies stuck a brush instead of a sword." Had he tried harder for greatness, he might well have lost his innocent freshness, and the gallery of portraits he left to the world would have died on their walls...
Sisley gradually moved away from this Courbet-like realism, and the work he did in the 1870s has usually been considered his best. In the Aqueduct at Marly his palette was open, his brush light and sure. Sisley never played rough with nature, nor did he like to intrude too far upon its secrets. While Monet atomized the sun, Sisley let it wash gently over his scenes, neither searing nor dazzling...
...brush for Sisley was not an instrument of attack or of dissection. What affected him in nature was not its force but its fragility. His paintings could be bright and gay, but almost never exuberant; they could portray sadness or loneliness, but never great grief. Sisley was drawn not to the powerful but to the perishable; he was moved not by stormy passion but by quiet poetry. His favorite part of any landscape, he said, was the sky: "It has the charm of things which disappear. And I love it particularly...