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...films, Godard's cinematography is clean and sharply punctuated, fixing on such pop culture images as pinball machines and posters. High and low art are thrown back and forth, and shown to be virtually interchangeable. The Seine is a Corot, and Romeo and Juliet is a tabloid. The three protagonists run madly through the Louvre to try to outdo some sort of world record...

Author: By Lauren M. Mechling and Hanna R. Shell, CRIMSON STAFF WRITERSS | Title: Riding the New Wave: Absolut Godard | 10/3/1997 | See Source »

...interesting to me is that this Picasso, who after all did do something pretty great--cubism--immediately afterward begins to do something which many people would normally feel is not really great: namely a whole career as a pasticheur. So after cubism he becomes this super imitator of Ingres, Corot, Renoir, Poussin...

Author: By Scott Rothkopf, | Title: Krauss and the Art of Cultural Controversy | 5/16/1997 | See Source »

University Art Museums: New exhibits include "David to Corot: French Drawings in the Fogg Art Museum" and "The Fire of Hephaistos: Large Classical Bronzes from North American Collections" (at the Sackler...

Author: NO WRITER ATTRIBUTED | Title: Things to Do | 5/17/1996 | See Source »

...Corot was much better at trees than people, let alone pagan divinities. His weakest drawings are of the figure, his strongest of vegetable nature--one especially, an ink drawing of creepers on a rock done around 1827, has a wiry inquisitorial line and a fierce truth to the motif that remind one, without exaggeration, of Durer. In landscape his hand roamed free, giving the foreground hill in Volterra, the Citadel, 1834, a lively splotching of indeterminate dark scrub whose excited marks carry more visual weight than the distant hill town. But his early portraits are maladroit Ingres...

Author: /time Magazine | Title: ART: BRINGING NATURE HOME | 3/25/1996 | See Source »

...last years, from 1865 or so until his death, Corot produced an exquisite series of small figure paintings, mostly of young women sitting before the easel in the brown clutter of his studio. Some remind you of Chardin, others are prophecies of Whistler. Interrupted Reading, circa 1870-73, is strikingly modern in its broadly painted triangular planes of muted color, regulated by two patches of black--the model's hair and her bodice--and relieved only by some red coral beads. Its Raphaelesque formal clarity looks back to neoclassicism but also forward to Picasso's dropsical women. It shows that...

Author: /time Magazine | Title: ART: BRINGING NATURE HOME | 3/25/1996 | See Source »

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