Word: henri
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Dates: during 1990-1999
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...idiom of the Western is a major achievement for Jarmusch, and an intense, sensual experience for the audience. While the William Blake theme is somewhat inconclusively handled, it does create a literary feel to the work which increases its intellectual potency. This is also true of the epigram from Henri Michaux which opens the film and gives it its title: "It is preferable not to travel with a dead man." Jarmusch explains this quote with an intriguing vagueness characteristic of his films: "I'm not exactly sure what that's supposed to mean...I'd like to have...
...French classic Diabolique, a man's spouse and lover hatch an elaborate plot to murder him. Now two women may kill the remake of that film, due out in the U.S. this month. Ines Clouzot, the eccentric widow of the film's original director, Henri-Georges Clouzot, is threatening to block the movie's release, claiming she never sold remake rights. "I first learned about the project from reading a newspaper at my hairdresser's," says Clouzot. "I can't let a pirate film come out." Production company Morgan Creek insists it bought all rights, but one of the movie...
...most talented painters among them were Henri, Bellows and Sloan. Glackens turned into a late-blooming Impressionist, and Shinn was essentially an illustrator, while Luks' coarse, rhetorical talent produced a lot of formulaically macho painting leavened only by a few significant works, such as The Wrestlers...
...brilliantly responsive artist whose style looked modern, and in some respects was modern, without offending American conservatives. Bellows' reputation as a radical had more to do with his lowlife subjects and journalistic speed than with any avant-gardeness in the work. His political ideas, like those of Sloan and Henri, were in some general way socialist-anarchist without being particularly militant. He leaned toward a pastoral, unthreatening vision of the disorganized poor, spiced with humor, as in his portraits of tough Irish street urchins or the famous Forty-Two Kids, 1909--not, alas, in this show--depicting a swarm...
...himself many years later, a slipping glimpser, with a strong sense of the fleeting moment in which people are caught unawares--arguments on the fire escape, a woman pegging out the wash, lovers furtively embracing on the tenement roof. And though his vision was less flamboyant than Henri's or Bellows', he clearly had a deep effect on younger painters like Reginald Marsh and Hopper. His moments of voyeuristic detachment were amplified in Hopper's glimpses of disconnected urban souls seen through windows. One wants to see more of Sloan; when will some American museum give him the retrospective...