Word: hogarth
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Dates: during 1950-1959
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Evergood's canvas is a New World extension of Hogarth's more modest hymn to feminine vitality, the 18th century Shrimp Girl in London's National Gallery. Where Hogarth suppressed all detail and strong color to concentrate on his model's glowing face, Evergood does the opposite. His girl is no prettier or more sensate-seeming than a doll, with chalky flesh and blaring costume. Yet she dominates her cluttered setting like a new, pagan deity, a personification of summertime on American shores...
...more than a question of manners. There is in much of our early fiction-in Fielding and Smollett, for example-a lot of rough-and-tumble, knockabout brutality, as much a reflection of its time as Hogarth's pictures were. But this new violence, with its sadistic overtones, is quite different. It is not simply coarse, brutal from a want of refinement and nerves, but genuinely corrupt, fundamentally unhealthy and evil. It does not suggest the fairground, the cattle market, the boxing booth, the horseplay of exuberant young males. It smells of concentration camps and the basements of secret...
...reputation for humor is at once Owen's greatest asset and a liability which he is most likely to deplore. Like the Hogarth engravings on his office walls, Owen's lectures are liberally sprinkled with bits of historical paraphernalia, each so interesting in itself that it is likely to detract from the whole. The "Crystal Palace" lecture, featuring lantern slides of a once famous Victorian exhibition, along with Owen's barbed asides, is an example. "I'm sorry it has developed into a kind of stunt or parlor trick. It really has a value in depicting the Victorian...
...light. His nervous, flickering brushwork brought every inch of the canvas to life, and created an illusion of space filled not only with figures but with air, odors and heavy thoughts. Levine's message to his fellow man was no longer propagandistic, but moral. Gangster Funeral may, like Hogarth's Gin Lane and Lautrec's Elles, live far beyond the age that inspired...
Pinups in Palaces. Among the most notable items in the show: a heroic Judith and Holofernes by Rubens, a precise and touching portrait of a half-nude woman by Rembrandt, a vicious Hogarth called The Reward of Cruelty, which shows the dissection of a murderer's corpse in gruesome detail. The exhibit also shows that, once they had learned their anatomy, many artists proceeded to paint the human form not as it was but as they thought it ought to be. The Fontainebleau school (started in the 16th century) created elegant cheesecake pinups of an elongated grace, their charms...