Word: brushworks
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Pleasure in Water. Had the ancient Chinese developed their writing with quill instead of brush, it is unlikely that the immense treasure of Chinese painting would have evolved as it did. But for well over 3,000 years, painting and calligraphy developed hand in hand, raising virtuoso brushwork to such disciplined levels that generations of Chinese artists created their masterpieces "on fine silk that permitted no erasures...
...popular painter since the Ukiyo-e masters of the 17th and 18th centuries. What makes his sudden rise to fame so surprising is that Tessai's work boldly departs from the polish and finish of Japan's professional, court-painting tradition. Instead, he used a rough, impulsive brushwork that often seems closer to the West than to the Orient...
...Thousand Books. Tessai belonged to the Nanga (Southern) or Bunjin (Literary Man) school of scholars for whom art is a secondary accomplishment. To keep their amateur standing clear, they scorned the meticulous brushwork of the professionals. Tessai, who considered his calligraphy an essential part of his art. took up his brush only when the spirit moved him. Not until the final decade of his life did he decide that he had mastered his craft...
...Taoist and Confucian religious history, are symbolic of Tessai's belief in the underlying unity of Oriental religions. By his controlled use of sumi-ink splash and brush strokes, Tessai turned his white paper into a water-lily-strewn waterway and sky; at the same time his forceful brushwork created a protomodern example for much that in Western painting passes for abstract expressionism. Looking at these last works, one Japanese critic mused: "They are like flowers that bloom on an aged plum tree." Then he exclaimed in admiration: "Tessai became a dragon...
...critics. Young artists, moving from the geometric form toward nature, suddenly found an inspiring kind of abstraction in Monet's late work. Museum of Modern Art Director Alfred Barr admits that he once thought Monet "just a bad example." today has deep admiration for the vigor of his brushwork, his near-abstract paintings of nature, and his suggestive ambiguity of object and reflection.* Putting the final stamp of approval on Monet for the avant-garde is Manhattan Critic Clement Greenberg, who in praising Monet's "free, calligraphic brush-work and loose, tonal delineation of form," now confirms that...