Word: hues
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...indescribably simple and touching . . . he is a great magician." Andersen's grandest illusion takes place in The Ugly Duckling (Knopf; $10.95). Illustrator Robert Van Nutt begins by using a primary-school palette. But as the duckling sheds its down and acquires an elegant neck, the dominant hue changes to a formal white, reflecting Andersen's change of mood. The story is sometimes read as a revenge play, but Van Nutt makes it clear that he regards the duckling's progress as a happy tale of growing up, giving the protagonist (and the young reader) the enviable role of Everyduck...
...screens and point forward to the whiplash rhythms of art nouveau. But this handwriting was not mechanically stamped on the landscape, as the style marks of mere obsessives tend to be. On the contrary, it was infinitely responsive to the nuances of fact. Dealing with the "difficult bottle-green hue" of his famous motif, the cypress (of which the real landscape around Saint-Remy is now disappointingly short), he went to great trouble to set forth the realities inside its hairy, obelisk-like silhouette: the mauve cast of shadow on the trunk and branches, the sparks of almost pure chrome...
...silvery grays (jug of water, belly of sole) with a few touches of red within the ambient - darkness of Still Life, Fish and Lemons, 1921, accentuates a lesson Matisse had learned from Manet: that black, far from signifying the absence of color, can read as a suave and powerful hue. Matisse's work, seen in this concentration, proves once more that in painting, innovation means nothing without a vital sense of the past. "I have simply wished to assert," he used to tell his students, echoing Courbet, "the reasoned and independent feeling of my own individuality within a total knowledge...
...structure or cubist layering of space. In future, art would hang onto the spread-out, expansive quality of Pollock's work while refreshing it with a new intensity of color, inspired by Matisse. At the end of the purge you would have a clipped but radiant discourse of pure hue, fixed by an exaggerated pictorial flatness, done in thinned translucent washes that became the surface. Louis' direct inspiration for this was an early canvas by Helen Frankenthaler, Mountains and Sea, 1952, whose liquid blotches and airy sense of light struck him, in one of the few quotable phrases he left...
...lack of confidence and technical ability as a performer and a musician. We were an alternative to a lot of the overblown pop music that was around then, but it wasn't as simple as what I described. The music had this disturbing hue to it." Heads fans of long-standing will notice the difference, say, between an early song about America called The Big Country, with its disaffected chorus ("I wouldn't live there if you paid me to"); and True Stories' anthemic City of Dreams, with its poignant, lulling melody and amber-waves-of-grain imagery: "We live...