Word: brushwork
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Dates: during 1960-1969
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...indeed a nuisance, even to the men who hired his skill. From Lord Beaverbrook, for whom he went to work in 1927, Low exacted the promise that he could draw whatever he chose. That choice was rarely to the proprietor's Tory tastes; Low's brushwork punctured the Conservative Party, the Beaver's dreams of British Empire, and the Beaver himself. Low once depicted his boss as a witch on a broomstick, preaching "politics for child minds." When Beaverbrook urged his staff to go light on Mussolini's rape of Abyssinia, Low impudently drew three monkeys...
...wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless), non-contrasting (colorless) colors, brushwork brushed out to remove brushwork, a mat, flat, freehand painted surface (glossless, texture-less, nonlinear, no hard edge, no soft edge) which does not reflect its surroundings-a pure, abstract nonobjective, timeless, spaceless, changeless, relation-less, disinterested painting-an object that is self-conscious (no unconsciousness), ideal, transcendent, awaare...
...painting. The mere fact of the show certainly means that abstraction is going to have to move over and make room for a new kind of U.S. representationalism. Yet much of the excitement of the figure paintings traces back to abstraction. The paintings come from artists who learned color, brushwork, emotionalism and intuition through abstraction-or, conversely, from artists who stuck to saving faces and figures in bitter resistance to abstractionism's popularity and rich returns...
...decorations are more elaborate. One wall is painted in the vivid colors of a stage, with tall, narrow side doors standing ajar, and leering comic masks peeking through small windows. Large central openings show gardenlike vistas. On top of the stage are small, blue glass vessels. Perspective and brushwork are so skilled that the scene has startling depth...
...earlier works, though his palette was muted, the focus was as sharp as a photograph. Gradually, the brushwork loosened, until it seemed as if a veil had dropped between the artist and reality. His landscapes may be literal, but they are seen as if in a dream (see color), his people, almost always empty-eyed, seem to live in a trance. They are sleepwalkers, whose minds and bodies are a world apart. And for the most part, they are children, usually adolescent girls...