Word: graphics
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Dates: during 1960-1969
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...from any of those incetuous Middle European national film academies, so unlike every other Slav we know he has neither a spine-warping bag of tricks nor an official certificate of artistry. He got into cinema as a writer, and the continuities he establishes are clearly more dramatic than graphic-which should make his art more accessible than most to the casual moviegoer...
...Wall Street firm Goldman, Sachs & Co., the 5-ft.-tall connoisseur started his career as a banker and wore a pearl stickpin. But his purchases were not at all conservative, ranging from Rembrandt to Saul Steinberg, Ben Shahn and Alexander Calder. He bought them all, mainly their graphic works, and used his collection to teach two generations to appreciate...
...lavished their gratitude on him. Soldiers carried the cartoon-figure emblems of his creations on their uniforms and their war planes. Kings and dictators saw them as symbols of some mysterious quality of the American character. David Low, the great British cartoonist, called Disney "the most significant figure in graphic arts since Leonardo." Harvard and Yale gave him honorary degrees in the same year (1938); on his shelves were more than 900 citations, including an unprecedented 30 Academy Awards...
FRENCH DRAWINGS by Maurice Serullaz. 232 pages. New York Graphic Society. $37.50. An engaging trip through 19th century France as seen by artists from Prud'hon to Daumier. The book includes three drawings by Novelist Victor Hugo, who painted as fast and furiously as he wrote- leaving behind about 450 pictures when he died. Hugo's riverscape is delicate and brooding, his ample nude is created with a few bold strokes. Other subjects range from classical to genre, and, typically, the plates begin with a love scene and end with a disputation between doctors as death steals away...
BONNARD by Annette Vaillant. 230 pages. New York Graphic Society. $27.50. A cheerful, gossipy book embellished with 53 color plates, 92 black-and-white photographs and 79 line drawings by Pierre Bonnard, a painter who looked like a postal clerk on the point of tears. Bonnard was, in fact, a failed lawyer who fell in with artists in Paris, and never recovered until he died at 79. His range was nearly as wide as his lifespan: Paris posters resembling those of Toulouse-Lautrec, portraits of midinettes with the geisha gestures of Hiroshige figures, pointillistic experiments with gossamer landscapes, indolent nudes...