Word: colorist
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Dates: during 1990-1999
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...Colorist" [FASHION, July 19]: So men are going in for hair tipping a la Ricky Martin. Jeez, what's next? Pink fingernail polish? BOB MANDESON Glendale, Calif...
...Mural would keep reappearing right up to the slanting "poles" in his last great canvas, Blue Poles: Number 11, 1952. The two pictures have something else in common: they remind you how Pollock, whom we tend to think of as a web-weaving, linear artist, was also a real colorist, idiosyncratic and original. There is something vulgar about the palette of Blue Poles, with its giddy dance of aluminum paint and hot orange, but it is the kind of vulgarity that fairly seethes with life...
...desire. His aim was not to argue coherence but to go for the strongest level of feeling. He conveyed it with tremendous plastic force, making you feel the weight of forms and the tension of their relationships mainly by drawing and tonal structure. He was never a great colorist, like Matisse or Pierre Bonnard. But through metaphor, he crammed layers of meaning together to produce flashes of revelation. In the process, he reversed one of the currents of modern art. Modernism had rejected storytelling: what mattered was formal relationships. But Picasso brought it back in a disguised form...
...century, he missed the "painterly" pictorial revolution that was going on there, which is why his work can look a bit liny and (relatively) old-fashioned, closer to Giovanni Bellini than to young Titian. Drawing creates more of his pictorial structure than color does; yet he was a marvelous colorist, suave, moody at times, and capable of a mysterious lyricism that reminds you of Giorgione, his senior by only a few years. Except that the color goes to extremes: icing-green, purple, sky blue and orange, oddly predicting the dissonant colors of Mannerism...
...sense a conceptual artist. He didn't and still doesn't care about teaching us what theoretical limits can be assigned to art. But he does care passionately about the life and health of painting, as distinct from the mere evocation of image haze; and as a draftsman, colorist and all-around creator of plastic sensation, he has no rivals in the American generation behind his. After so much photo-based figure painting in which the actual scrutiny of the living body, in all its resistant complexity, played no part at all, Kitaj's figural art posed serious questions that...