Word: colorful
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Dates: during 1970-1979
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After years of shock and sorrow over the decline of morals and decency in our country, I thought I had become shockproof . . . Can you believe it: complete color films of sexual acts between women and men, including homosexual acts, using your children. Unless you and I act today . . . our children and our children's children will be exposed to perversion so sinister that good will become evil and evil will become good...
...around 1653. The King's features-the bulbed Habsburg lip, the forehead's waxy promontory, the thick ball of a chin, the upswept mustache that Salvador Dali would appropriate and vulgarize-must have been more familiar to Velásquez than the map of Spain itself (see color overleaf...
...provincial beginnings often confer a certain intensity on painters. The eye becomes obsessive, prehensile. Sanchez Cotán was a cloistered monk who never went outside Spain-but his Bodegon of vegetables (see color overleaf) is one of the most remarkable still-lifes ever painted. Each form-the ribbed curves of the cardoon stalks, the fleshy convolutions of the hanging cabbage, the ragged lace of the lettuce-is rendered with breathtaking economy. The picture is a lesson in ideal vegetarian geometry, with the slice of lemon and the slender cones of carrots occupying space like Renaissance mathematical models...
...film, Seven Beauties, and with ample justification. Seven Beauties stands head and shoulders above Wertmuller's previous work; it is the sort of film that proves conclusively this major director has found her stride. Every aspect of the production, from acting and characterization to her use of color and music, is not only delightful to watch in itself, but also contributes directly to the realization of a coherent vision of undeniable emotional force...
Rome is history's eternal litmus aper. Dipped in the perceptions f an era or an individual, it changes color-republican white, imperial purple, Christian gold-indicating the nature of those perceptions and their changes from one century to the next. Comparing Giovanni Battista Piranesi's etchings and Herschel Levit's photographs of Rome, exhibited together in the MFA, is a fascinating study in perceptive, historical or otherwise When the 18th century Italian looks at these imperial Roman monuments he sees a totally different structure than the 20th century New Yorker does. One wonders which has changed more; Rome...