Word: colorings
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Dates: during 1950-1959
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...teeth politically. When courtly Antonio Segni resigned as Italy's Premier two weeks ago, the four-party coalition that has dominated Italian politics since 1953 was utterly shattered. The only alternative to the coalition, pending next spring's general elections, was what Italians call a "single color" government-an all-Christian Democratic Cabinet which, since it would lack an assured majority in the Chamber of Deputies, could probably only survive by ducking controversial issues. At President Giovanni Gronchi's request, jovial Adone Zoli agreed to do his best to form such a government...
...young Picasso, tramping about Paris with a Browning automatic flamboyantly tucked in his belt, was quickly evident as he began to paint gaunt laundresses, half-starved nudes and such El Greco-haunted scenes as Blind Man's Meal. Their signature was the all-pervading blue monotone, a color which Picasso has since explained "was not a question of light or color. It was an inner necessity to paint like that." The clowns and buffoons of the Rose period that followed still astonish by their sure draftsmanship and haunting melancholy...
...area of intellectual struggle, if it has been shifted from within the painting to the surface, is not entirely absent. "Sun Landscape" shows a sucesful and deeply probing resolution of the problem of color and texture. This painting radiates heat by close color combinations and it is no wonder that it has made some people nostalgic for desert country of the West. A very different but equally successful atmosphere is created in the more subtle here than usual, more wintry and thoughtful than the favorite spring and summer brightness of Gerassi's latest period...
This provides formidable competition. Next to Rouault, Max Beckmann's strength, coherent though it is in both still life and portrait, becomes an inflexible and dry stiffness. Bradley Walker Tomlin's vivid pattern of color dabs appears insubstantial and weak. Even Miro's usual verve and wit fail to bring his Lasso to satisfying completeness. Yet, such free-swinging abstractions as Toti Scialoja's or Richard Diebenkorn's, have far less to say. Their absence of representational basis is perfectly acceptable but their lack of aesthetic articulation...
...canvases seem slight. They do reflect facility, sensitivity and a highly personal approach, but somehow their content never quite justifies their expansive delivery. On the other hand, each modest Bonnard still-life, like Vuillard's little Woman in Green, voices far more substance in truly elegant chords of brilliant color...