Word: courbets
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...exhibition flows almost chronologically, beginning with the realism of Gustave Courbet (1819-1877), and ending with the postimpressionism of Paul Cézanne (1839-1906) and Paul Gauguin (1848-1903). The viewer does not get a snapshot of one small movement, but instead comes away with a sense of what happened artistically between the classic 18th century still lifes of Jean-Siméom Chardin and the 20th century innovations of Pablo Picasso and Georges Braque. Related paintings are placed side by side to inform the viewer’s understanding of both the history and the aesthetics behind Impressionist...
...Balthus' talents did not run to avant-garde ambitions. He was entirely a figurative painter--there was no abstract phase to his work--and his reverence for past masters, from Piero and Poussin to Courbet and Manet, was so absolute that his work is a virtually seamless homage to them, not so much in subject matter as in studiously quoted poses and meticulously conscious structures. His power of organization was awesome; his spread of quotation, wide. What caused the individual citations to hang together, though, was his eye for nature. Nowhere is this clearer than in his huge composition...
...vast majority of Colescott's work is incredibly varied and can only be linked in small groups. He is probably best known for his series of appropriations of other painters' works, including a Courbet, a Van Eyck, a Vermeer and a Van Gogh. In these he often changed the race of the figures or added captions and altered the size of the piece. He produced a few works in the Abstract Expressionist vein, which focused on the significance of color and gesture. He employed a cartoon style to address political issues. Among other politically-motivated works, Colescott discussed a painting...
...Boston arts community has been waiting anxiously for three years. Finally, the wait is over--the Isabella Stewart Gardner Museum's Blue Room is reopening. The room holds several of the Museum's most noteworthy 19th-century acquisitions, including Manet, Delacroix, and Courbet, as well as letters and photographs of such notables as Emerson, the Jameses, Oliver Wendell Holmes and George Santayana. Tues. to Sun. 11 a.m. to 5 p.m. 280 The Fenway, Boston. 566-1401. $10 adults, $7 seniors, $5 college students, free for those under...
...then in the '60s and '70s, he would produce paintings and prints of considerable power. Sometimes they would be folded into series of variations on the old masters and 19th century painters he needed to measure himself against, such as Velazquez and Goya, or Poussin, Delacroix, Manet and Courbet. In his last years particularly, his production took on a manic and obsessive quality, as though the creative act (however repetitious) could forestall death. Which it could not. His death left the public with a nostalgia for genius that no talent today, in the field of painting, can satisfy...