Word: henrys
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Dates: during 1970-1979
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...fact, a comparatively restrained one. The messiah in question was Henri Gaudier, a gifted French sculptor who, having emigrated to London, became a central figure in the avant-garde before being killed in World War I at the age of 24. Russell's theme is the long, violent and platonic love affair between Gaudier and a neurotic Polish writer almost twice his age, Sophie Brzeska, whose name he joined to his. Hampered by poverty, his life truncated at a moment when most artists are only beginning to work, Gaudier-Brzeska did not produce a large body of sculpture...
...Russell has reduced the art of biography to semi-porno voyeurism in Bohemian meller terms the least we might expect from biography is a token effort at vensimulitude. But Russell ransacks the facts and substitutes his hyped-up version of artistic truth in tasteless tribute to the life of Henri Gaudier Brzeska...
...Lewis and Ezra Pound. The Vorticists took their name with the idea that all art must originate in a state of emotional vortex and their aim, according to Pound was to establish what we consider to be characteristic in the in the consciousness and form content of our time. Henri Gaudier left his established family when they banned his Platonic love. Sophie Brzeska--a Polish writer twice his age--from their estate. He then adopted her name and lived with her until his death though their relationship was never consummated. Unrecognized during his life he suffered perpetual ridicule and abuse...
These sorts of hyperbolic vignettes are piled one stop the other without logic or order. Russell has no intrinsic rationale for his boned-up effects. It's pure Hollywood chi-chi. The movie lasted less than a week in Boston. Consider for example a scene of Sophie and Henri husting stones by the seashore. He scales a lower of white rock, and straddling he peak, black cape whipping in the winds, he cuts a lone prophet figure against a clear sea; meanwhile the dances out her care-free spiritual applause on the sand, crying. "It will be a hymn...
...their stubborn disregard of what sculpture "ought" to look like in the 1970s, De Kooning's bronzes stand in an interesting relationship to his paintings - as, indeed, the sculpture of major painters often does. Henri Matisse's casts, for instance, served as a receptacle for those instincts toward solid, feelable shape which he could not (with out violating the development of his work as a painter) get into his canvases. De Kooning imagery has long tended toward the monstrous. But the images existed in a fictional space, descended from Cubism, flattened and modulated. One may guess that...