Word: impressionists
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Still life is is anything but still. The diversity of subject, style and affect highlighted by Impressionist Still Life at the Museum of Fine Arts (MFA) explores a broader definition of still life, questioning how the genre ever acquired its historical reputation for being boring, inexpressive and insignificant...
...Leonard Bernstein?s Broadway score. More daring was Kelly?s decision to restage the Jerome Robbins ballet that is at the heart of (and was the inspiration for) the original show. Darn it, he?d do his own darn ballet. Similarly, he honored and caricatured the great gallery of Impressionist paintings in the ballet for "An American in Paris" - this time starting from scratch, and inhabiting the vivid worlds of Toulouse-Lautrec, Manet, Dufy and Utrillo. The last words in the film are spoken almost 20 minutes before it ends; from then on it?s all ballet and mime...
...three employees bustle about behind the counter and below a menu of pizzas, hot and cold subs, salads, spaghetti and simple red and yellow paintings thereof. Pictures of chefs, family and the Virgin Mary adorn the back wall of the kitchen. Red plastic booths overflow with pleased patrons and Impressionist prints in gilded frames crowd the wall. A large cardboard box of cans and bottles demonstrates the establishment’s environmental friendliness. The cashier rings up a meal totaling $6.04 but requests only an even $6 from the customer. A couple of officers from the Harvard University Police Department...
Both Signac and Seurat strove to give a noble, architectural permanence to fleeting effects by analyzing shape and light in terms of dots of color. They wanted rigor and system, not Impressionist spontaneity. Each man influenced the other; Seurat was the greater artist, but it was a real partnership. Thus it was Signac who persuaded Seurat, and not the other way round, to purify his color by banishing earth pigments from his palette. Later Signac would give up on the dot, using larger spots in a sort of mosaic. Under the influence of Turner, whose luminous watercolors and oils...
Gone too, naturally, is the remarkable artwork of Eddie Campbell. Campbell shares authorship with Moore for good reason. His scribbley, impressionist black and white pen work picks out just the details important to a scene. The rest seems shrouded in mist. After several hundred pages you feel closed in yourself. You can't read the book without at least one walk in the sunshine. The Hughes brothers have their own misty style, but have chosen to shoot in color. The look of the movie becomes its best asset, exploring the medium's unique possibilities of luminosity, movement and composition...