Word: edwardians
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...Benjamin Sonnenberg, 70, is one of the master builders of that great, glittering curtain wall known as Public Relations. He is also, perhaps, his own most successful client-Ben's elegantly Edwardian style has long been a Manhattan happening, and he lives, and grandly entertains, in one of the city's last great houses. From the felicitously festooned walls of his century-old mansion on Gramercy Park, Sonnenberg selected 64 portrait drawings of the past 150-odd years for an exhibition that opened last week at the Pierpont Morgan Library. The show includes a Van Gogh, two Modiglianis...
...long affiliation with the Old Vic in 1933. Later he helped launch the Shakespeare Festival in Stratford, Ont., and the Tyrone Guthrie Theater in Minneapolis. He was an innovator who occasionally armed the bard's soldiers with machine guns and once staged Troilus and Cressida as an Edwardian piece, replacing Greeks with Prussians. Though he also directed Broadway hits, Sir Tyrone castigated the Great White Way as "a murderous, vulgar jungle...
...Ozenfant's "The Romanticist has in him something of the Exhibitionist," and clippings of poems, like Yevtushenko's on the Kennedy assassination: "Loving freedom with bullets, you shoot at yourself, America!" It is also filled with thin-line sketches of astonishing virtuosity, reminiscent, like the artist, of illustrations in Edwardian children's books...
Curtis' paintings have none of the conceptual density or revolutionary aims of surrealist imagery; they are gentle, mannered, elegiac, peopled with doll-like Edwardian women and dandified men. These ghosts, thin and sharp as memory in the preservative desert air, flit through empty, curlicued facades or congregate amid their elaborate furniture, radiating a wistful chic; as image maker, Curtis is more elegant than challenging. His objects do not confront one another in shock, like Lautréamont's famous sewing machine and umbrella on a dissecting table-they nod, as it were, with mild and civil assent...
...there is a common denominator of failure in the film, it is a certain earthbound literalness that prevents us from taking the meaning of the characters' actions at anything but face value. In recreating Edwardian England, Russell has gone to a great degree of bother. The end product, however, is simply too much detail. When Russell attempts an outdoor scene, it looks more like he's constructed a horizonless hot-house. Consequently, in key sequences-as when Birken abandons the intellectual Hermione (Eleanor Bron) in order to submerge himself in nature-one never makes the necessary leap from physical facts...