Word: brushworks
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Aerial Auroras. Turner scorned the highly varnished, precisely glazed look of a "finished" painting. He wanted his paintings to show virtuoso brushwork (sometimes he even daubed with bread rather than bristles). Before exhibitions opened at the Royal Academy, artists traditionally varnished their canvases in sight of the public. Turner, instead, completed his. Spectators gawked as the academician, in top hat and frock coat, stood on a bench daubing away at his already hung oils. With his color box beside him, he mixed pigments in whatever was handy, even stale beer, to touch up details that would provide some visual reference...
...used his abilities to forge false documents and again he escaped. After the liberation, he made his way to Rome, where he staved off starvation by selling water-colors at fifty cents each. His paintings at this time were emotional and expressive; he made city-scenes with violent brushwork and discordant colors...
...Zoffany. The elegant composite result (see opposite page) displeased the Hanoverian monarchs because of the prominence it gave to visiting Englishmen, even though it reproduced more than a dozen masterpieces of Italian art. Later scholars did blow ups of each of the copied paintings and found that the varied brushwork of early masters was imitated with a genius forger's fidelity...
...DEREK BOSHIER, 27, invents jazzily colored bewilderments that he calls "geo-art." Portsmouth-born Boshier was baffled by math in school, but found in art a personal arithmetic. His colors are rainbow, his brushwork invisible, his imagery a camouflage that creates the illusion of depth while flatly defying the painting's artificial edge. A modest but highly confident chap, Boshier says: "All the images I use have very much to do with presentation, the idea of projection-rather like the phrase '20th Century-Fox presents' in the movies. These images come from a social condition or setup...
Agony in a Yawn. A hallmark of the collection is its focus on the well-painted picture with perfect brushwork. Nothing among Simon's pictures looks unfinished or sloppy. "Simon's primary consideration is esthetic quality without regard for periods," says Richard Brown, director of the Los Angeles County Museum. "And he lives with it just that way, hanging a Van Dyck alongside a Gorky in his office, a Memling alongside a Degas at home. This takes courage and taste, because it means holding the bat full length, not shortening...