Word: goghs
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Dates: during 1980-1989
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...Harold Rosenberg put it, he was "the figure of the artist as nobody, though a nobody with a resounding signature." This subverted the romantic stereotype of the artist -- hot, involved, grappling with fate and transcendence -- that American popular culture, and hence most American collectors, had boiled down from Van Gogh and Pollock...
...Then last week a 1905 gouache titled Acrobat and Young Harlequin was sold at a London auction for $38.4 million, a record for a 20th century painting. The buyer was identified as Akio Nishino, head of fine arts for Tokyo's Mitsukoshi department store. Only two other canvases, Van Gogh's Irises ($53.9 million) and Sunflowers ($39.9 million) have brought more...
Whatever else may be wrong with the late American art industry, we are living in the golden age of the retrospective exhibition. One by one, the great artists of the 19th century have been done over the past decade: Cezanne, Manet, Courbet, Van Gogh, Gauguin -- and now Edgar Degas. We may deplore the crowds at these shows, the souvenir selling, the social circus and the TeleTron tickets at up to $7.75 apiece, an outrageous tax on knowledge. Earplugs -- preferably not attached to Acoustiguide gadgets -- and yogic detachment are needed. There are, as crusty old Degas said, some kinds of success...
...earliest paintings in this show, like the portrait of his grandmother from 1900-02, are timid, earnest homages to Corot and Boudin. In 1905 he saw what Matisse and Derain had done at Collioure, under Van Gogh's spell, with the hot colors and white light of the Midi. Prodded by his friends Othon Friesz and Raoul Dufy, he began to paint the colder northern light of Antwerp in a fauve style. But in this early work there is a sense of discomfort. Braque did not draw very well, and, as he lacked the graphic fluency of his mentors...
...creation told by the early work is just as surprising as anything in his Tahitian years. By 1880 the Sunday painter in his 30s had become a tardy impressionist, imitating Pissarro's landscapes and Mary Cassatt's moppets. After ten years of work in Paris, Brittany and with Van Gogh in Arles, Gauguin was making his first real masterpieces, like The Ham, 1889, a still life that pays homage to Cezanne and Manet while equaling both in its rigor and sensuousness, and Yellow Christ, 1889, with its startling extremes of yellow and orange. This painting of peasants adoring a wayside...