Word: gothics
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Dates: during 1970-1979
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...created a vogue for raga-rock, by introducing the sitar in Norwegian Wood. It was he who interested the rest of the Beatles in transcendental meditation. For years George lived in a ranch house painted in psychedelic colors. He finally surrendered it, but only for a 30-room Gothic mansion complete with secret doors and sculptured gnomes. No superstar, but no ordinary man either was George Harrison...
...group of artists who emerged from a backwater of painting, Germany, at the start of the 19th century. They inherited no secure historical position. Their diversity was extreme. Some left Germany for Rome and Raphael; others remained at home, seeking a continuity with the Gothic past; their images ran a gamut from Blakean vision to the tightest realism. From this jumble rose a group whose imagination transcended the constraint of their circumstances; they are represented in a fascinating show, "German Painting in the 19th Century," which opened last week at the Yale University Art Gallery...
Dark Imaginations. As the century began, the settled rules of neoclassicist art could no longer contain the experience of a generation of Germans who had grown up with war, conquest and instability. The dark woods and branching Gothic vegetation that Dürer and SchÖngauer had engraved came back to haunt living artists; the full force of literary romanticism, with its themes of love, death, exile and transcendence, played over them. The caped solitary figures in Caspar David Friedrich's paintings, staring mutely at the horizon with backs turned, are like footnotes to Goethe's Sorrows...
...faction in German critical thought exhorted artists to stay home, to relate themselves to the northern, Gothic past, to be German painters. But in 1800, modern art meant neoclassicism, and that meant Rome. One of the first on the trek to Italy was Joseph Anton Koch, who headed south in 1794. There is an almost schizophrenic gap between his early landscapes, conceived in reverent imitation of Poussin, and a later painting like Macbeth and the Witches (1834). It is a full-blown response to Goethe's Sturm und Drang, with its flailing energies of cloud and sea, its Gothic...
Despite some genuinely inventive work with a one-way mirror, the last half of the film is grade Z gothic explicitly and ludicrously prefaced by a shot of Nero reading Poe. The story defines a specific supernatural cause-a young nymphomaniac (Italian gothic being more open than the American kind) dead these thirty years-for the hero's obsessions and the events that keep animating the house. Instead of taking quantities of diverse experiences, and showing us the ways we process this material and the ways it obsesses us, the film turns its cultural matter to sensationalist ends, and obstructs...