Word: corots
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...earliest paintings in this show, like the portrait of his grandmother from 1900-02, are timid, earnest homages to Corot and Boudin. In 1905 he saw what Matisse and Derain had done at Collioure, under Van Gogh's spell, with the hot colors and white light of the Midi. Prodded by his friends Othon Friesz and Raoul Dufy, he began to paint the colder northern light of Antwerp in a fauve style. But in this early work there is a sense of discomfort. Braque did not draw very well, and, as he lacked the graphic fluency of his mentors...
...only against the visual stimuli of the Cote d'Azur but against the heritage of the 19th century, whose former citizen he was. Its masters speak both to and from his Nicois canvases. The hushed green density of Large Landscape, Mont Alban, 1918, is an amalgam of Courbet and Corot, though the slow, wristy drawing that drives the eye round the curve of the road and follows the slant of the windblown pines is entirely Matisse's own. The modulation of silvery grays (jug of water, belly of sole) with a few touches of red within the ambient - darkness...
...bride wonders aloud why he sees the same lackey in crimson livery standing in the same spot every day, he is asked in return: "Don't you agree that a touch of red is needed just there, a complementary color to focus the green composition, as in a Corot landscape?" The woman who makes this reply is Celeste, the family's ultimate arbiter in matters of aesthetics, interior decoration and fashion. She is blind. Similarly, the renowned four-story library at Marulanda is all veneer, a mass assembly of false fronts: "Behind those thousands of proudly bound spines...
...paintings put into currency in America. They have less to do with locating a set of objects in the illusion of a void than with creating a continuous pelt of shapes that fills the surface from edge to edge, top to bottom. With 19th century landscapists like Bierstadt or Corot, one is softly inducted into the illusion. Welliver points out, 'You can really just enter into it and leave. With mine, there is the resistance of the surface of the painting. The fact of the painting is always...
...posed, immobile, amid the crowds that passed through his pictures. In 1959 he pulled his glasses onto his forehead, and, in a rare gesture of self-revelation, put himself in the company of the masters who inspired him, entitling the improbable work Self-Portrait with Self-Portraits of Rembrandt, Corot and Degas. Returning to a busy Manhattan street for one of his most recent paintings, he once again plays the role of the bystander. Dressed in the now familiar gray suit and Chico hat, arms hanging loosely-perhaps helplessly-at his sides, the artist looks searchingly at the viewer...