Word: impasto
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Dates: during 1960-1969
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...acre Washington campground staked out by the Poor People's Campaign. But at least one-third of an estimated 3,000 residents pulled out of it as more than two inches of rain fell during one 30-hour period, blanketing the once-grassy meadow with a six-inch impasto of mud. Abernathy himself spent his nights elsewhere until a band of Negro militants invaded his hotel. Though they were turned back by staff members of the Southern Christian Leadership Conference, Abernathy, chagrined, moved into the camp. But he plainly felt put upon. "I'm supposed to dream dreams...
Nonetheless, many of the minor works are high-voltage pictures in themselves. A savage chop of cross-hatching and rapid brush strokes give Van Gogh's watercolor foliage as much urgency as one done in a heavy oil impasto; the extravagantly translucent turquoise shadows of his barred window at the Saint-Remy asylum emphasize the manic oppressiveness of the room's yellow walls...
...Gene Davis sets the eye dancing in Phantom Tattoo with a 10-ft. by 19-ft. cascade of multicolored awning stripes. Ellsworth Kelly does three giant, economy-size rectangles of flat color (one each of red, yellow and blue) covering 89 sq. ft. Alfred Jensen's four-paneled impasto consists of dozens of big squares, little squares, houndstooth checks, checkerboards and signal flags-all in a canvas measuring 7 ft. by 28 ft. Alex Katz deftly pinpoints a life-size Lawn Party, in a realistically painted 9-ft. by 12-ft. canvas populated by all his friends and neighbors...
...Head of an Old Man by Carel Fabritius, Rembrandt's most talented pupil, is one of this exhibition's outstanding pieces. The tiny square panel radiates deep emotional expression and contemplative moodiness. The heavy impasto (thickness of paint), the bold brush strokes, and the warm brown palette are reminiscent of Rembrandt portraiture at its best...
...nature of his wooden sculpture (see over page), and Antonio Saura's Brigitte Bardot is unsentimental. Says Saura, 36: "When I throw a blob of paint on my canvas, I am committing a rape. When I work I become a kind of monster." There is violence, a seething impasto in whorls of dark color, the suggestion of hot, bubbling blood. Like the peeling, crumbling walls of the Cuenca museum itself, Spain's informalists, such as Luis Feito, present a modern vision of ancient agonies bred in the scorching sun. They convey a sense of decaying grandeur, human endurance...