Word: gauguin
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Dates: during 1970-1979
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Inflated Blues. Picasso's immature work has benefited greatly from hindsight and feedback. The slides flick, the familiar images succeed one another-the young painter chewing his way through Toulouse-Lautrec, Manet, Gauguin, Munch, Steinlen and a host of other influences that crowded upon him in Barcelona and, after 1900, in Paris. There is no consolidated style in Picasso's career until, aged 21, he starts moving into the Blue and Pink periods...
...somewhere between brown and mauve. Red lipstick in the '40s tended to be blue-red and caky in consistency; the '70s red is clear and guaranteed not to cake. So wide is the range of colors she has before her, a woman can now be her own Gauguin when she dabs away in front of her cosmetics mirror...
...which films are manipulated. A hysterically banal aesthetic argument from Vincente Minelli's 1956 B-movie, Lust For Life (shot off TV via video tape and transferred to film), represents the Nixon-Paramount form of exploitation within Available Light. Speaking to the point of images questioned, Anthony Quian (Gauguin!) answers Kirk Douglas (Van Gogh), "I paint it flat, 'cause I see it that way," the Hollywood realist-humanist rationale for manipulation. For the more conscious elements of image-makers, the rationale is of course more problematic. "I don't know how to see you," Tom says to Amy, manipulating...
...undistinguished landscape by Van Gogh, L'Hôpital de St. Paul á St. Rémy, joined the no longer select club of certified million-dollar marvels by fetching $1,200,000. A smallish Gauguin self-portrait, far less impressive than several others he painted, brought $420,000-an auction record for that artist. Degas's 37½-inch-high La Petite Danseuse de Quatorze Ans, wearing the original cloth tutu and silk hair ribbon Degas used, broke the existing auction record for sculpture, selling for $380,000. Ironically, the little statue was received with such hostility...
Priapic Swagger. Unlike the Impressionists, Gauguin did not paint what he saw: he chose to see what he wanted to paint. And his ideas on what was paintable grew out of other art-from the broad color patches and rhythmic line of Japanese cloisonne and wood block prints, from rural Breton sculpture and the flattened, monumental figures of a French artist he greatly admired, Puvis de Chavannes. Style absorbed him -not only the priapic swagger and ebullience of his own lifestyle, but the pervasive feedback of art style into nature. Even the fierce colors which scandalized some of his contemporaries...