Word: giacomettis
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...18th and 19th century British paintings to Yale, had been considered the most likely foreign buyer if the Tate fell short. But Mellon, a self-styled "galloping Anglophile," felt the paintings should stay in England. He contributed four paintings from his private collection, two Vuillards, a Bonnard and a Giacometti, to a benefit auction. They went for about $90,000, and soon, with more than a little help from the British government, the two Stubbs found themselves safely ensconced in the Tate. British art lovers could breathe easy?for a while at least...
This walkin, environmental sculpture took 13 years to complete. It is the most ambitious of all her wooden constructions. The title suggests a brief bow in the direction of another, and earlier, image of night and silence: Giacometti's The Palace at 4 a.m., 1932-33, one of the canonical sculptures of surrealism. But Giacometti's palace was the size of a doll's house. Nevelson's work-almost 12 ft. high, 20 ft. wide, and 15 ft. deep-is actually domestic (if not palatial) in size, a place one can move into. It is both...
...brush stroke by a master of sumi-e (ink painting). There is probably not a sculpture on view in America this week that gives a clearer impression of the mystery of great portraiture: how realism, a recognizable type and shape, can be conveyed through complete stylization. Like a Giacometti, the figure of Muhon Kakushin is both there and not there: close to the eye, but folded about by its own distances...
...santos of all were the penitential death figures, especially a fine 19th century death figure kneeling on a grave. The anatomy is haywire, the drawing childish; but this emptily grinning totem of wooden bones, flagellating itself above a mysterious round stone, is as strange as any surrealist sculpture by Giacometti, filled with a sense of isolation - an image as suited to its desert as any cactus flower...
...first photograph in this book to understand that cameraman James Klosty could not possibly express more about choreographer Merce Cunningham than that he's an enigma. That first photograph silhouettes Cunningham--turned from the waist, arms stretched overhead, legs rooted apart--like a Klee stick figure, or a Giacometti spider-thin nude, or maybe a twentieth-century version of the Renaissance icon: man as the measure of all things...