Word: colorists
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...Ozawa has always been more effective in Strauss and Stravinsky showpieces than in Beethoven symphonies. Music that demands depth rather than flash taxes him. He has taken up opera in Europe, but his strengths and weaknesses remain the same: his Elektra in Paris was the work of a master colorist but lacked the manic intensity that others generate...
...poets but no great formal artist (as distinct from vivid dream illustrators like Dali or Magritte). Even allowing for the recent rise in the critical fortunes of André Masson, the painter who introduced Miró to the surrealist group, it still seems clear that, as a draftsman and colorist, as an inventor of epigrammatic shapes set in exquisitely pure pictorial fields, Miró had no rival within that movement...
...since then, Hockney's main contribution to the stage has been as a colorist. Through the '60s and '70s, opera audiences got used to an intimidating degree of abstraction in sets and costumes-sweeping bare stages with a significant prop or two, or else labyrinths of neo-Bayreuth gloom where spotlights jabbed accusatory fingers through banks of theatrical fog. This design orthodoxy, based on texture, shadow, "sublime" cavelike space, was a necessary reaction against older conventions of the painted background: the unenchanted tempera forest with every stale leaf in place. But it left out color...
...fields of dots (like enlarged details of a Seurat, betokening light), its casual surface can look clumsy; but that is only Hodgkin playing with the idea of clumsiness, extracting an educated pleasure from the babyish joys of daubing. In fact, his taste rarely fails, and his talent as a colorist remains unmatched among living painters. Both place his paintings squarely in the tradition whose praises they modestly sing. -By Robert Hughes
...Yankee Matisse, a painter (in the recent words of Critic Hilton Kramer) comparable to late Turner and late Cézanne, displaying "the kind of archetypal grandeur and sweep that is to be found only among the masterworks of modern art." Of Avery's power as a colorist, there is no reasonable doubt. The only way not to feel it in the Whitney is to wear sunglasses. But Avery as draftsman? The color weaves a seamless fabric of pleasure; the drawing punches large puritan holes...