Word: cote
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Dates: during 1980-1989
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...hometown of Philadelphia. Eleven years and countless boxes of popcorn later, he viewed Ingmar Bergman's The Seventh Seal and was struck by the realization that films could be more than mere entertainment. That marked the beginning of a fascination with the cinema that took Corliss to the Cote d'Azur to report this week's two-page Show Business story on the Cannes Film Festival...
...Duvalier has said that short of returning to Haiti, she would most like to move to Los Angeles. Duvalier, 35, has expressed a strong preference for staying in France, where he has unsuccessfully sought refugee status. For now, the couple remain confined to a 30-mile strip along the Cote d'Azur, virtually prisoners in a home that is not their own, in a country that officially refuses to accept them...
...grand object of travelling," said Samuel Johnson, "is to see the shores of the Mediterranean." The maxim had a special force among artists from the early 1900s to the eve of World War II. It applied to one particular shore: the Cote d'Azur, that strip of Provence that runs from Nice to Hyeres. If ever a littoral was changed from a place to an idea by the efforts of painters, this one was it. Paul Cezanne, a Provencal rooted in the limestone and red clay of his native Aix, had made backcountry Provence around Mont Ste.-Victoire...
...maestro of this process was Matisse. He was a mature painter of 48 when he started his first working sojourn in Nice after 1916. Just as Gauguin had carried his style preformed with him to Tahiti, so Matisse took his to the Cote d'Azur. One would logically expect that given the tremendous efforts of ! abstraction and integration that had gone into his work from his fauve paintings of 1905-06 to The Moroccans of 1916, nothing he did thereafter would seem trivial to art historians. Yet such was not the case. Most accounts of Matisse's life treat...
...this is some way from the flat pre-1916 Matisses, and one of its governing impulses was the artist's desire to measure himself not 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...