Word: colorism
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Dates: during 1960-1969
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This summer, marking the centenary of Vuillard's birth, Paris' Musée de L'Orangerie has mounted a retrospective of his works (see color opposite), which are displayed along with those of his brother-in-law and lifelong friend, Ker-Xavier Roussel. Both were contributors to the mighty explosion that was impressionism, but their visual worlds were quite different. Vuillard was essentially a realist, a chronicler of bourgeois life. Roussel, with his nymphs and gods, was a dreamer, trying to transplant classical Greece into the French landscape...
...away with three-quarters of the enjoyment. To suggest it, to evoke it -that is what charms the imagination." The art of suggestion, Vuillard discovered, required subtle materials; oil on canvas seemed too shiny and thick. He started painting on unprepared pasteboard, which absorbed some of the color. He also turned to pastels for sketching, and experimented with powdered colors. Success came early and easy, but it frightened him. "I must look out," he said. "Well-meaning patrons may disturb my routine." By 1914, however, the spotlight had shifted from post-impressionism to the angry, angular new vision of fauves...
BLACK JOURNAL. Included in this month's "black magazine" are stories on the semantics of color, a profile of Negro Film Director Melvin Van Peebles, and a report on the Mississippi Freedom Democratic Party, which four years ago challenged the all-white delegation to the Democratic National Convention and this year joins a Mississippi coalition of dissidents to renew its appeal...
...stars could get away with Mitchurn's approach to moviemaking, and few want to. "I've still got the same attitude I had when I started," he likes to boast. "I haven't changed anything but my underwear." Therein lies his personal color-and his professional drabness. Is there still a chance for him to unveil his talent? "That would require a lot more exposure of himself," says Actress Polly Bergen. "And he's not sure that he likes what's inside him, which is a shame." Not to Mitchum. Rich, languid, self-hating, self...
Everyman is such an incredible kick, and so much color and so many ideas explode so often and so well, that a happy and enthusiastic opening-night audience quickly succumbed to the magic. And, when all ended, it was I suspect the magic that those people remembered, not exactly the play they had seen performed. Verse plays aren't noted for evoking mass gut reactions. The ambitious and verbally complex Mayer-Babe adaptation gets a little lost in the tempest nightly at Agassiz, and that's not to say that the play is weaker than its dazzling production...