Word: impressionists
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...Rembrandt Juno is one of his weakest paintings -- large, flat and gross. The Rubens Adoration of the Shepherds may not be by Rubens at all; the Titian, not by Titian. The Leonardo pages, installed in a sort of dim mortuary chapel of their own, look ridiculously anticlimactic. The Impressionist work is as dull as could be. And, except for the Van Gogh and one early Gauguin, so is the more modern material. Only the Daumier holdings have any depth. One is left with the impression that Hammer had no eye at all, no feeling for art; that he bought like...
LILLA CABOT PERRY: AN AMERICAN IMPRESSIONIST, the National Museum of Women in the Arts, Washington. Through her friendship with Monet, Perry (1848-1933), a wellborn Bostonian, wife and mother of three, became a pioneering exponent of Impressionism in the U.S. This handsome exhibition aims to restore her once eminent reputation. Through...
...more than half the total recorded sales volume of all art bought at auction worldwide -- bid sluggishly or sat on their hands. The Japanese buyers did not even come out for a Van Gogh still life that was expected to make $12 million to $16 million at Christie's Impressionist and modern sale two weeks ago. It too was bought in, at $9.5 million. However, a fine Van Gogh ink sketch was bought by a New York dealer for $8.4 million, the highest price ever paid at auction for a drawing...
...first-rate prices. (That an exceptional painting could still make an exceptional price was in fact confirmed earlier this month at Sotheby's in London when a great Constable landscape, The Lock, 1824, was bought by Baron Thyssen for $21.1 million.) Michael Findlay, head of Christie's Impressionist and modern art sales, called the market a "roller coaster" -- inexactly, since roller coasters go up and down but always finish at the level where they started. The next big sales, in the spring, may or may not bring a second dramatic plunge. But they will almost certainly see more deflation...
...their formal means as well as in their spiritualist ambitions: an image emerging from subtle "white writing" spread across the surface, bathing the ideographic forms in a diffused glow. But Pousette-Dart really hit his stride in the '60s, through a kind of Impressionism without objects. In it, the Impressionist idea of fidelity to the passing nuances of light was subsumed in rendering a molecular space, dancing and palpitating with perfectly controlled motes of close-valued color and big, tranquil, centered images that resembled stars or novas. One can see them as part of the same (now utterly defunct) fixation...