Word: brushworking
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...regarded as old hat was something new for Matisse. He had made his name in the preceding decade as the most dauntless of the Fauves - the Wild Beasts - a small group of painters who pushed the telegraphic brushwork of Impressionism and the dissonant palette of post-Impressionism into fever territory. At their head was Matisse, King of the Beasts, building pictures out of colliding zones of pyrotechnic color or from staccato dashes of magenta and ultramarine...
...then moves to the Philadelphia Museum of Art, you have to remember that before he became a semiclassicist, he was a consummate Impressionist. You need to picture him in 1874, 33 years old, painting side by side with Monet in Argenteuil, teasing out the new possibilities of sketchy brushwork to capture fleeting light as it fell across people and things in an indisputably modern world...
Vietnamese artist Nguyen Trong Niet, an 85-year-old painter who has lived most of his life in a rundown flat in Hanoi's Old Quarter, proudly says he painted Muong Kuong Market years ago in his living room, which is also his bedroom and kitchen. The vibrant lacquer brushwork of the piece exquisitely captures the bustle of market day in a Vietnamese village. The Vietnam Museum of Fine Arts, the country's national art museum, thought so too. Officials there snapped up the painting for their collection, and for the past 40 years, Niet's work has been hanging...
...Despite, or maybe because of, their constant competition, Titian and Tintoretto often found their artistic practices converging. Over the years, Titian's brushwork became much freer and more open - more like Tintoretto's. Meanwhile, much of Tintoretto's output as a portraitist is like a grudging homage to Titian, who had arrived in his own portraits at a balance of gravity and offhandedness, dignity and intimacy so perfect (and appealing to clients) that the younger man knew he had no alternative but to imitate...
...saints. The smooth surface of the polished wood panel and the carefully hidden brushstrokes give the Bellini its placidly silken, liquid surface, and even its painted and columned frame recalls the Italian High Renaissance; but the rougher surface of the canvas seems to free Titian to make visible his brushwork and lend his gilt-framed work a subdued and textured frisson. Titian dominates this first room of the exhibition, and his remarkable portrait of Pope Paul III introduces the psychological depths that set off these Venetians from their southern predecessors. The pope sits in a sea of faded velvet?...