Word: cubists
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...first of the series, "End of the Brownstone Era or Tower of Babel," is a canvas crowded with the mass shapes of an urban nightmare. Harshly cubist in its leanings, the work centers on a large tower pricking its way from the sludge of sewers into a haze of pollution and demonic flame. This is Bruegel's Tower of Babel with a twentieth century difference. Lichtblau's shapes are coarser, more jagged, and her tower is crowded in by other towering and toppling refuse. In the center of the canvas huddles a family, dark and enclosed in helplessness, surrounded...
...second canvas of the triptych, "Epidemic," Lichtblau presents a grim, horrific picture of devastation. The shapes, cubist skyscrapers, still pierce their grotesque bleakness toward a pale sun in the center of the painting. The viewer looks up to the gray and lavender sky, feeling as though he too is lying with the victims who struggle in burnt-orange groups at the bottom of the painting. A lone gantry pushed ladderlike toward the dying sun, but stops and returns to the ground with its own image of circular death, the builder's wrecking ball, suspended over the death-groups...
...Islamic tile, stands to real plants as puppets do to real people. Yet the plants are alive, and their vitality is in the probing, inquisitive line that flowed from Klee's pen. He was an astounding draftsman, one of the virtuosos of the century. Whether tracing into cubist patterns the squares and towers of a Renaissance town (Italian City, 1928), or making a gay arabesque out of the contents of a moon-washed room (Still-Life: Plant and Window, 1927) or simply, in Klee's words, taking a walk by itself, the line fizzes with exuberance...
...glass photographic plates in a Plexiglas cube. From each of the four sides there is a different view of the same seated female nude. But at first glance the woman may not be visible at all: each view is broken up into a prismatic abstraction recalling the early cubist paintings of Picasso and Braque...
...white in the middle. The eye must leap among the different rhythms in the room-from the fragility of Giacometti figure to the heavy rounded bronze body by Maillol. Among the modern things, a few seem as rare as the ancient discoveries. One tiny, unusual Picasso, done before his Cubist work, shows women crossing a square. He suggests the forms of the figures bending forward against the wind by smudges of charcoal. If they turned around, you would see women like those in Greece dressed only in black...