Word: cubists
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Steinberg can fill a sheet with figures, each of them drawn in a different style?cubist, pointillist, child art, hatched shading, mock sculptural, hairy scribble, Leger boilerplate, art deco?and display a wide, ironic complicity with art history while making no final commitment to a "way" of drawing. The drawing works because he so obviously possesses each style. It is imitation without flattery. As a dandy, Steinberg owns all the hats in his wardrobe. A still life like Belgian Air Mail 1971, is not a "cubist-type" drawing, a thing done in homage to Braque and Picasso. It is rather...
...work of Picasso and Braque became internationally known, could sidestep it. But the expressionists were not fundamentally interested in the neutral subjects of cubism: the quotidian landscape of cafe table, brown guitar, pipe, bottle and chair. Franz Marc, who died in the trenches at 36, turned to the cubist vocabulary of facets, prisms and sliding rays to express his pantheistic view of nature, the Eden of happy animals: "We will no longer paint the forest or the horse as they please us or appear to us, but as they really are, as the forest or the horse feel themselves-their...
...shapes does tell against his paintings. The swift, hooking line of his earlier work - that consummate rendition of energy by one of the master draftsmen ever to live in the U.S. - has softened to a re markable degree. One feels the removal of de Kooning's cubist under props, and it is a loss; the surface that remains is too gooey to sustain the flailing energies of brushwork and brusque disjunctures of color that de Kooning loads on it. Time and again, one is brought up short by a reflection that never occurs in the presence of his work...
...Jewish artist best known for his brilliantly colored paintings with religious themes; of heart disease; in Manhattan. Born in the U.S. to parents who had fled from the Russian pogroms, Rattner after World War I settled in France, where his work was influenced by both the impressionist and the cubist schools. He returned to the U.S. in 1940 convinced by the rise of Nazism that art should not merely concern itself with style, but should deal with moral and spiritual issues. These he depicted not only on canvas but in tapestries, stained-glass windows and portfolios of prints. Among Rattner...
Another aspect of Cunningham's art, which New York Times critic Anna Kisselgoff has compared to the Cubist principle of collage, is the relation between dance and such other elements of performance as music and decor. Here too the principle of dance-as-dance-only is carried to an extreme. In preparation for a typical performance, Cunningham meets with the composer and designer and tells them the general tenor of the dance, but not its specifics; then all three work separately, combining their efforts for the first time only in actual performance...