Word: colorable
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Dates: during 1970-1979
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...proved in practice. Early this year Blackley formed a company, Liberty Graphics of Charlotte, to make and market red checks. To date he has sold some 60,000 (at a nickel apiece for orders of 500), Except for the color, the check is a blushing copy of the personal checks that his customers send in to be reproduced; the red-faced checks even include the bank's magnetized numbers for automatic sorting. It is possible to microfilm the checks with special equipment, but most banks find that regular processing produces a gray blur. Bankers speculate that since banks...
...with sound, and was one of the rare few performers who would do so in a concert hall. On one occasion, he added electronic devices to the orchestra, to augment the double basses in a composition that he thought needed an extra heavy bass. Experiments in the association of color and sound that were done early in the century caught Stokowski's fascination. He once used a color machine during a performance of Rimsky-Korsakov's Scheherazade, to heighten the effect of the music. While most people were condemning the tinkly music piped into the cinemas of the early sound...
Vast in scale (though not always in size), lush and rigorous in color, his cutouts are among the most admired and influential works of Matisse's entire career. They belong with the grandest affirmations of the élan vital in Western art. Dr. Johnson once remarked that the prospect of being hanged wonderfully concentrates the mind. In 1941, when he was 71, Matisse nearly died of an intestinal blockage and was bedridden for much of his remaining time. But he felt reborn, and the cut-outs would serve as most eloquent witnesses...
...definitive exhibition of Matisse's cutouts; it includes 58 works, about a quarter of the known total. But if it does not exhaust Matisse's achievement as découpeur, it offers an unstinted sense of buoyancy. Matisse liked to talk about the "beneficent radiation" of his color, of its power to heal, and he would prop up his paintings, like sun lamps, around the bed of a sick friend. In the National Gallery, in the sublime, undulating leaf patterns in green, blue and yellow that Matisse designed for the stained-glass windows of the Chapel...
Nearly a quarter of a century has passed since Matisse's death, but the audacity of his color remains astonishing. What other artist could handle those deep, resonant cobalt blues, those fuchsias and oranges, those velvety blacks and soprano yellows, without producing an effect akin to colored gumballs? In Matisse's world, color was equated with feeling. It belonged to the realm of Dionysus. But Matisse's goal was, in his own words, to establish "a sort of hierarchy of all my sensations," to possess and minutely articulate the nuances of feeling. There was nothing more decisive...