Word: crucifixion
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Dates: during 1950-1959
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Hollywood's cemetery of cemeteries, Forest Lawn, bears more than a casual resemblance to "Whispering Glades" of Waugh's novel. For one thing, Forest Lawn stresses works of art. On Good Friday, Forest Lawn unveiled a new one, a painting of the Crucifixion, found no man to challenge its proud claim that it is the biggest canvas in the world...
...build-up was impressive: Rico Lebrun, who at 51 is among the nation's most respected artists, devoted five years to planning and painting a giant triptych entitled Crucifixion; it was well received by his Los Angeles neighbors, and last week Manhattan's choosy Museum of Modern Art had the picture on show. The work itself turned out to be something of a shocker...
...elephantine 16 by 26 ft., it is actually not a Crucifixion, but a Descent from the Cross. Brilliant draftsman that he is, Lebrun has defined every shape dramatically, but they are all ugly, including the figure of Christ, and many are menacing as barbed wire besides. The color is a dirty near-monochrome, was used by Lebrun in the hope that a film short would be based on his picture. It has the glaring light and the wriggling shadows of a flashbulb photograph...
...this ballet the ensemble alone is important, and it is wonderfully eloquent. A tangle of arms and legs, writhing sensuously, and the crucifixion of a white-clad figure in a pool of light epitomize the existence of the Children of Darkness and the Children of Light. Sophie Fedrovitch's decor and costumes are, above all, strikingly simple in design, admirably in keeping with the ballet. This simplicity, the pro-found moral and artistic purpose of Frederick Ashton's choreography, and the trained ability and conviction of the dancers, make "Dante Sonata" an impressively meaningful experience. "Dante Sonata" represents the Salder...
...Century German masters he himself most admired: Matthias Grünewald, Martin Schongauer and Albrecht Dürer. Their art had been as strictly delineated, and often as sad and bitter cold as his, though far more ambitious. Had he lived, Gruber might conceivably have come to paint a Crucifixion as great as Grünewald's. He never got beyond showing how pathetic a nude model and how forbidding a winter landscape can look...