Word: gogh
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...subject matter is probably as much the cause. Matisse and Picasso got away with graceful, terse summarizations of the female nude. And Van Gogh is said to be the individual talent interacting with the artistic tradition when he hacked out the bad imitations of Delacroix and Rembrandt. But because Lichtenstein glorifies and celebrates the succinct essence of hamburgers, comic strips and warehouses, because he reworks Monet's Haystacks and Picasso's Bull with the slick techniques of modern graphics, he is lowered to insultable altitudes--down from the ivory tower of unintelligibility which protects most artists, thanks to the vanity...
...twining lines of a Jakachū in reproduction is at first to be reminded of Victorian illustration, as though he were an Eastern Aubrey Beardsley or Arthur Rackham. Not so. In fact, he was nearer to being a cross, improbable as it may sound, between Audubon and Vincent Van Gogh. When Jakachū painted the arrogant feathers of a cock's ruff, each sharp quill imbued with fiery distinctness, he could give them the vitality of a Van Gogh sunflower. His range of notation, the "handwriting" that constitutes larger shapes, was astounding-as a scroll of shells and coral...
...late to complain about Irving Stone, who provides novelized biographies for readers who want Vincent Van Gogh and Michelangelo to wear boxer shorts and talk like members of the local school board. Perhaps that is why Stone, in his latest book, persistently calls the historical Heinrich Schliemann "Henry...
...series of sketches that show the author as a gentle practitioner of the short-haired shaggy-dog story. Most of them should be read as experiments rather than as polished pieces of comic ingenuity. One essay, for example, "If the Impressionists Had Been Dentists," imagines that Vincent Van Gogh is a dentist obsessed with bridgework and X rays as art for art's sake...
...della casa-art theft. In the hours before dawn, thieves had broken in through a window and spirited off about $2.3 million worth of paintings left to the museum in 1956 by Sicilian Industrialist Carlo Grassi. The haul included a Cezanne, a Bonnard, a Renoir, a Vuillard, a Van Gogh, a Gauguin, a Millet and a brace of Corots. The thieves, said Director Mercedes Garberi, "displayed a very refined taste." Giovanni Spadolini, Italy's Minister of the Cultural Patrimony, was already in shock from the theft of two Piero della Francescas and a Raphael from Urbino twelve days before...