Word: brushworking
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...ease of working in oil also invited painters to experiment with rapid, summary brushwork, often to produce passages of sketchy, indeterminate form. This was the technique that Tintoretto above all made his own. Thirty years younger than Titian, the son of a dyer - hence the name - Tintoretto was the only one of the Big Three born in Venice. He very briefly apprenticed with Titian but was driven out of the workshop, according to some sources, because Titian was jealous of Tintoretto's evident gifts. For whatever reason there was bad blood between them ever after, and there ensued many instances...
...problem first because he so completely refused to be modern in any terms that the art world cared about or could stomach. Long after it was no longer fashionable or even permissible to practice a flinty, granular realism, Wyeth went on making pictures with the kind of brushwork that specified the world in almost molecular detail. That his technical capabilities were so apparent only made it more annoying to some critics that he wouldn't turn his back on them. Virtuosity of that kind was something that we almost wanted to get off the table, an embarrassing reminder of pleasures...
...work of Khadim Ali, an Afghan born as a refugee in Pakistan, incorporates classical miniature techniques honed at Lahore's renowned National College of Arts. He uses the flat planes, thick gouache, gold leaf and impeccable brushwork, all typical of 18th century Mughal miniatures, to portray scenes from the Shahnameh, a Persian epic familiar to Afghan children. Ali is a member of Afghanistan's Hazara minority, and his people's persecution by the Taliban during the late stages of the civil war is also reflected in the dark panels of his miniatures. His Herculean hero, Rustam, is ambiguous, portrayed...
...every Bacon is a triumph, however. As early as the mid-1950s, inspired by Van Gogh and by the keen sunlight of Tangiers, where he was spending much of his time in a miserable love affair, he attempted to work in brighter colors and with looser brushwork. The result was a few congested, conventionally expressionist canvases. But the movement to a high-key palette also opened the way to the orange, lilac and pale beige backgrounds that make his work of the '60s and '70s so unnerving, precisely because the agonized figures struggle in such bright spaces...
...meteor that fell there. He was born on Crete in 1541 and made his way to Spain, via Venice and Rome, only in 1576. But he spent the remaining 38 years of his life there, mostly in Toledo, and his high-key palette, flickering brushwork and twisted Mannerist figuration were perfectly suited to Spain's militant piety and the strain of Catholic mysticism spreading there through the writings of St. Teresa and St. John of the Cross. A cooler, more classicizing artist would not have answered so well to the emerging Spanish taste for religious ecstasy...