Word: impressionists
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Friday, 4:00 p.m. The producers reconvene for a meeting in El-Hage’s room, a homely Claverly abode with Japanese prints and an impressionist landscape on the walls. On the floral rug there are boxes full of fashion donations for the post-show auction; beside them, from piles of posters, the sexy and austere Eleganza models stare angstfully across the room at a vintage map of Harvard...
...understand the Renoir of "Renoir in the 20th Century," which runs in Los Angeles through May 9 then moves to the Philadelphia Museum of Art, you have to remember that before he became a semiclassicist, he was a consummate Impressionist. You need to picture him in 1874, 33 years old, painting side by side with Monet in Argenteuil, teasing out the new possibilities of sketchy brushwork to capture fleeting light as it fell across people and things in an indisputably modern world...
...time, Renoir worked with figures so strongly outlined that they could have been put down by Ingres with a jackhammer. By 1892, the year with which the LACMA show starts, he had drifted back toward a fluctuating Impressionist brushstroke. Firmly contoured or flickering, his softly sculpted women are as full-bodied as Doric columns. This was one of the qualities that caught Picasso's eye, especially after his first trip to Italy, in 1917. He would assimilate Renoir alongside his own sources in Iberian sculpture and elsewhere to come up with a frankly more powerful, even haunting, amalgam...
...classics like The Grand Illusion and Rules of the Game. During the run of this show, LACMA has scheduled a Jean Renoir film festival. You can schedule one at home to decide for yourself who was the greater genius in this family. If it weren't for Dad's Impressionist years, my money would be on Junior...
...shadows are that they be transparent and darker than their immediate surroundings. He has shown that reflections, like shadows, are a mystery to the human mind; their representation in art has but a few of the limitations which govern reality. He maintains, in a similar vein as Livingstone, that Impressionist art is so appealing because intentional blurring may connect representations more directly to emotional centers in the brain rather than to conscious image-recognition areas. Cavanagh has even offered an explanation why flat, two-dimensional representations are effective, arguing that we do not experience the visual world as truly three...