Word: gauguin
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Tidy Man. There are no novels about Klee, as there are about Gauguin, Modigliani and Picasso. For nothing ever happened to him. Even when the Nazis in 1933 began their suppression of cultural freedom in Germany, where Klee had been teaching for twelve years, he quietly moved back to Switzerland for refuge without fuss or rancor. Politics did not interest him, and his life-style scarcely changed. With his tabby cats, his violin, and his watercolors hung out to dry like dish towels on a clothesline in his studio, Klee had always seemed like the Caspar Milquetoast of the avantgarde...
...roots of modernism (such as Oriental art) to discover her own direction, found it, and moved on. If she is a loner at 82, it is because of her special vision. To call her "provincial" because her images are mainly drawn from New Mexico is like calling Gauguin provincial because he worked in Tahiti...
...volunteer. There was a very long hallway with a row of ten doors lining one wall. Each door led to a small bedroom. The opposite long wall, coated with thick yellow or green hospital paint, was pretty bare except for the door that led onto the ward, an old Gauguin print, and halfway down the length of the ward, the TV. I glanced up and down the long narrow room and noticed a few middle-aged men, either skinny or fat in cheap untucked cotton shirts and chinos. Mostly they were sitting in couches or chairs and sleeping or staring...
...compared its creator to Homer. An aristocrat who was reputed to be the illegitimate son of Talleyrand, Delacroix both extended and refined Gros' epic romanticism. Though his high baroque style claimed no successor, Delacroix's techniques in juxtaposing complementary colors influenced Cézanne, Van Gogh, Gauguin and the Impressionists. He hit upon the method on a visit to Morocco in 1832. He found that by counterpointing color opposites, which by the law of optics fused in the eye to form gray, he could attain at once a strong effect and a sense of overall harmony. The validity...
...that suggestion, implying that there is no American culture worth knowing, is antediluvian and, for our purposes, quite irrelevant. Neither Lamartine nor Gauguin can be of much use to us in our search for a real America behind the murk, the insouciance, and the chauvinism of the American mind. Indeed, an intense facing up to facts about this continent and its history is far more instructive, especially about the future of our world, than a facing backward to Europe, still a center of ferment and ideas, but no longer the depository of sane leadership...