Word: impressionists
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Dates: during 1980-1989
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...beautiful downtown Burbank's greatest impressionist, he appeared four times on Laugh-in during its last season in 1973, doing such classics as his fork, a grandfather clock and toothpaste. He was promptly fired from his computer job. "From then on," he remembers, "I was a typical Hollywood story. I didn't work for a year and a half...
...reason why some American impressionist canvases do not look like French impressionism is that they depicted a different kind of glare: a high-keyed white light, rather than a vibrating spectrum of color a la Monet. They were, in other words, tonal rather than coloristic impressionism. Some of the artists who had studied in Paris, notably Childe Hassam, managed to work the authentic French flicker into their surfaces without making it seem heavy handed. Hassam's view of a victory parade in 1918, The Union Jack, New York, April Morn, with its vibrant banners hanging over a throng...
...affable but basically in sipid dining-room pictures of young Wasp rosebuds swathed in yards of white voile, clustered on lawns, playing on beaches, posing on verandas or picking flowers. They make one realize how badly America needed modern art. Not until the ad vent of some of the impressionist-influenced painters of "the Eight"-say, Maurice Prendergast after 1900, with his vigorous friezes of jostling figures by the sea-does vitality reappear...
...better than France's First Lady to open what could become France's First Garden? A palette of colors again are the grounds at Giverny that Impressionist Claude Monet planted and painted for 43 years. They withered after he died in 1926, but are now restored. Indeed, a photograph of Anne-Aymone Giscard d'Estaing, backdropped by blossoms, looked a little like a Monet...
...turned. Rarely does one get a chance to see a wall of Gauguins like the one in the Royal Academy, and the late paintings, such as Annah the Javanese, 1893, make one realize how complete was the liberation of feeling that went with the unfettering of post-impressionist color. The stocky, compact little body looks curiously unsensuous, at least by the conventions that Ingres or his salon followers would have recognized, but it is color that turns it into the epitome of carnality: the deep lunar blue of the chair enthroning the shadowed flesh, the sudden blaze of yellow...