Word: derains
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From the 1880s onward, there was certainly no lack of African and Oceanic tribal art on public view. There was also plenty to be bought-though much of it, including some of the masks and figures that influenced Derain, Matisse and Picasso, was poor stuff made, even then, in Africa for the souvenir-and-curio market...
Throughout the '30s and '40s, densely academic images of slightly poisoned girlish innocence would become Balthus's stock-in-trade. He did portraits too. His rendering of Andre Derain as a jowly menhir of flesh in a dressing gown is surely one of the great portraits of the century. But the schoolgirls were his preoccupation. Nobody could call them obscene; they have Art written all over them. Yet they have a great deal in common with the higher literary porn of the '40s, in which writers like Georges Bataille or Andre Pieyre de Mandiargues wove faultless...
Just how complete the break now is between the papacy and art may be judged from the roomful of uncomfortably "religious" paintings by André Derain, Graham Sutherland and Ben Shahn, enlivened only by a Matisse design for a large stained-glass window that gives the exhibition its feeble coda. Owing in part to the zeal of an association called the Friends of American Art in Religion, run by an art dealer named Lawrence Fleischman under the benign presidency of Terence Cardinal Cooke, masses of otherwise unsalable modern religious art have been decanted into the Vatican since the late...
...Glackens' cheerfully slathered impasto, the sky streaked with cat's paws of pink and the puffs of whistle steam stitched across the fat, oily pelt of the sea, an other kind of sensibility is present. It is very like the world of the French Fauve painters Derain and Vlaminck. The gap between Paris and New York has narrowed to less than a decade, and American modernism is about to begin in earnest. -By Robert Hughes
...picture has none of the social irony or even the sensuality with which Toulouse-Lautrec and Degas invested their brothel paintings. More vividly than ever, against the backdrop of earlier Picassos, it becomes clear why his friends thought he had gone crazy, why the painter André Derain actually predicted that Picasso would hang himself behind the big picture. The painting is freighted with aggression, carefully wrought. The nudes are cut into segments, as though the brush were a butcher knife. Their look, eyes glaring from African-mask faces, is accusatory, not inviting. Even the melon in the still life looks...