Word: cubists
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Today, Ghika lives in Athens in the shadow of the Acropolis, flying kites from its slopes for recreation and painting his razor-edged cubist landscapes whenever the spirit moves him. He thinks too few of his fellow moderns paint with real feeling for the everyday world of sights, sounds and smells. "Much art today," says Ghika, "is an acte gratuit-done for the sake of doing it. It's done with no purpose-it's a play and after a while you don't know what to do with it. A painting ought to respond to some...
...brush, but his work is still something any sculptor could be proud of. He began in 1899, at the age of 29, and worked in fits & starts until 1930, never long enough to develop a steady style. The gleaming bronzes at the Tate alternate between muscular realism and cubist distortion, are smooth and rough, delicate and grossly bulky. Yet each reflects the Matisse eye for form...
Back to the Body. The final portion of the show spans the past 15 years, and there Ritchie finds his back-to-the-body trend. There are two recent statues by old Cubist Pablo Picasso. One is a touching figure of a Shepherd Holding a Lamb, the other a small Owl sitting wise and silent. There are some late sculpture by such militant moderns as Jacques Lipchitz and Henri Laurens, and they too seem to be getting more natural-even Henry Moore's recent lumps and holes look more like people. Finally, Ritchie shows statues by two Italians...
...anything, Georges Braque seemed to grow younger with years. Ranging the gallery walls were 32 paintings as fresh and varied as those of any young hopeful struggling to find a "style." There were clear Normandy seascapes, bright Fauvist landscapes, familiar cubist figures, tight abstractions, and soft, flowing still lifes. On some the color lay thin and gentle; on others it was heavily applied with a palette knife and sometimes thickened with furnace ashes. Two of the paintings spanned Braque's career. The idea for his carefully constructed Bicycle came to him at 17, but only later did he feel...
...Paris knows, Jean Lurçat's rosy dream might come true. Europe is in the midst of a tapestry boom, and Lurçat can take much of the credit. A onetime cubist painter, he started designing tapestries shortly before World War II. His idea was that most contemporary work, modeled on the tastes of 18th century boudoir muralists, was too fussy and too expensive. Lurçat drew up designs with a simpler look, chose a few basic colors, and hired weavers at Aubusson's famed factories to turn them out. His 1946 show...