Word: gris
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...year-old tyro from Philadelphia, he exhibited in the Armory Show in 1913; and he outlived Jackson Pollock by eight years. His early model was cubism-though he did not visit Paris until 1928-and the sight of Davis grappling with the diction of Picasso and Gris, working his way through the lessons with the persistence of a man taking a correspondence course, remains very moving. For a whole year, he painted and repainted an eggbeater, a rubber glove and an electric fan. His Eggbeater No. 4, 1927-28, with its cool interlocking planes of methodically laid color...
...being the reason for Springsteen's performance scheduled in the Music Hall. Tickets are available for the October 29 appearance at Minuteman, Mainline, Ticketron, and Soundscope. Also on tap will be Mr. Mac Rebennack, the good Dr. John himself, whose rasping voice and rich piano rhythms have made the gris-gris sound classic to rockophiles everywhere...
...With Gris and Picasso, Miró is one of the three great modern artists Spain has produced. Both Picasso and Gris immersed themselves in the cosmopolitan culture of Paris. They became European rather than "Spanish" artists. But, as Miró pointed out in a letter to a friend, he remained "an international Catalan." Miró without Catalonia would no longer...
...Displacement. "It seems to me," he reflected, "that It Is more nat ural to make subject X coincide with a painting that one gets to know rather than to make painting X coincide with a known subject." Composition, in short, gives us our sense of reality. In this way, Gris was the most formal of all the cub ists. Picasso's formality was modified by his enormous appetite, Braque's by his aristocratic fervor, Leger's by his blunt populism, but Gris was obsessed by shape and only by shape...
This obsession led to an undeniable grandeur. An early composition like Still-Life: Bottles and Knife testifies to that. Tuned down to the subtlest inter play of gray over gray, unified by the stippled crust of Gris's opaque and polished pigment, these simple objects acquire the amplitude and severity of a Romanesque nave, and one realizes that when Gris used the word "architecture," he was not using a metaphor: the slanting displacement of the still life, as though seen through rolled glass, suggests a kind of response to structural loading-slippage, compression, shear. What Gris's work...