Word: gauguins
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...Russell's aim was slapstick parody. Yet, to judge from his publicity, Russell believes that his erratic mediation between Vasari and Groucho Marx tells some truth about the creative processes of his hero. But it does not, and so Gaudier-Brzeska joins the line of artists - Gauguin, Michelangelo, Van Gogh - whom the movies have turned into silhouettes of the romantic outsider...
...paintings, including some remarkable self-portrait studies, that anticipated the later Matisse in their schematization of form. But he remained stubbornly unaffiliated; even within the Symbolist group he was somewhat an outsider to the letter of their theory since, among other points of difference, he thought Gauguin's pictures "pedantic." Vuillard never allowed method to diminish sensation. "I do not belong to any school," he declared at 23. "I simply want to do something that is personal to myself." Six years later he described how "I never, in any context, think of my actions in terms of quality. Remember...
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...