Word: goya
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...accomplished anything more than timeliness. Social realism hardly makes the convincing picture that it did in the 1930s. But through Osborn's 27 chalk, collage and charcoal drawings in Manhattan's Downtown Gallery runs a brooding fury that links the cartoonist with the socially satirical art of Goya, Daumier and Ben Shahn. Side by side with looming figures symbolizing naked, illogical violence are Osborn's equally savage commentaries on the other nameless assassins responsible for the murders of Lieut. Colonel Lemuel Penn and the four children dynamited in an Alabama church...
Roland Penrose, gave $2,000 apiece to six unadventurous choices. France's abstractionist Pierre Soulages, 45, won with an unevocative work titled 24 November '63. Spain's slashing Antonio Saura, 34, scored with an Imaginary Portrait of Goya. Hard edge got the nod as the jury's candidate for successor to abstract expressionism. The U.S.'s Ellsworth Kelly, 41, and Britain's Victor Pasmore, 56, won prizes with undistinguished glops of color. Sculpture prizes went to Jean Arp, 77, and Eduardo Chillida...
SPAIN has the most satisfying pavilion of all: a well-wrought building where cool, shadowy interiors lead to bright, fountained courtyards, an art gallery where Goya and Velásquez hang cheek by jowl with Miró and Picasso. With a stageful of vibrant flamenco gypsies and a choice of fine restaurants touting "eels from the River Tagus" and "mushrooms from the caves of Segovia," Spain outclasses most other foreign and state pavilions, many of which offer nothing more remarkable than displays of consumer goods and models of jute mills...
SPAIN has the most satisfying pavilion of all: a well-wrought building where cool, shadowy interiors lead to bright, fountained courtyards, an art gallery where Goya and Velázquez hang cheek by jowl with Miró and Picasso. With a stageful of vibrant flamenco gypsies and a choice of fine restaurants touting "eels from the River Tagus" and "mushrooms from the caves of Segovia," Spain outclasses most other foreign and state pavilions, many of which offer nothing more remarkable than displays of consumer goods and models of jute mills...
Despite their modern idiom, contemporary Spaniards like Guinovart still live in homage to their ancestral art. None is all that distant from Goya's black nightmare paintings. Their colors are gloomy or veiled. They rarely use oils pure from the tube but rather blend them with earths to make their impastos. They seem, like the flamenco dancer holding his head high while his feet stomp in the dust, trapped in a tragic, often elegant, dilemma between formality and earthiness...