Word: gide
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Dates: during 1970-1979
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Samaras is not the most easily approachable of men. His efforts seem governed by Gide's famous plea, "Do not understand me too quickly." Compared with many other New York artists his age (36), he is almost a hermit. He shuns the art-world circuit, living and working in a cluttered container of a brownstone apartment in Manhattan which, in its contents, resembles one of his own boxes. An ironic reclusiveness directs his talk. Conversations are apt to falter and go brown under that sharp gaze. This is part of a strategy common to Samaras' art as well...
...prejudices, the name of Mr. Eric Gordon, a disillusioned Communist. As Mr. Jago well knows, the roster of famous names who have fulminated against the gods that betrayed them is far more impressive than is suggested by conjuring the aid of poor Mr. Gordon: Ignazio Silone, Arthur Koestler, Andre Gide, Louis Fischer, Richard Wright, Ruth Fischer, and Stephen Spender are some of the illustrious precursors. The point which Mr. Jago characteristically misses is that it is not necessary to have been a Communist to write critically and with understanding on these matters. A Sartre, for instance, can write incisively...
...Lincoln Steffens went to the Soviet Union and came back with the report, "I have seen the future, and it works." Similar enthusiasms for the New Soviet Man were voiced by Andre Gide, George S. Coints and dozens of other visitors. All of this was summed up in the incredible book by Sydney and Beatrice Webb: Soviet Russia, A New Civilization...
...hollow and fatuous do these reports read now. (Gide and Coints later wrote disillusioned accounts of those early visits.) That substantial history (if people remember it) should make any visitor to China today pause before expressing hyperbolic opinions, as does Azinna Nwafor who has returned from an "extraordinary ten-day visit" with the account that he has seen a new creation...
Edouard Vuillard was not a simple painter, and his subtle, qualified vision endeared him to some of the most complex minds in France. "Too fastidious for plain statement, he proceeds by insinuation," André Gide wrote of him in 1905. "There is nothing sentimental or highfalutin about the discreet melancholy which pervades his work. Its dress is that of everyday. It is tender and caressing, and if it were not for the mastery that already marks it, I should call it timid. For all his success, I can sense in Vuillard the charm of anxiety and doubt...