Word: inlaid
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...Mexico's President Carlos Salinas de Gortari made sure all the stops were pulled out for this exhibit. The country's biggest media mogul, Emilio Azcarraga, put up the money. An unprecedented tonnage of basalt, clay, obsidian, jade, gilt, inlaid wood and painted canvas has been moved out of Mexican churches, museums and private collections -- sometimes over protests by local communities that resent having their saints or gods borrowed by the government. On view are 365 objects, starting in l000 B.C. with a five-ton stone Olmec head and finishing in 1949 with Frida Kahlo's The Love-Embrace...
...painter to jump from his own balcony in Antibes -- as "the most considerable, the truest and the most fascinating young painter to appear on the scene, in Europe or elsewhere, during the last 25 years." His influence was wide. Those cakes of thick pigment, those creamy, generous brushstrokes inlaid like rough marquetry over their contrasting grounds, struck many artists in the 1950s as a viable alternative to the linear, quasi-geometric abstraction that had grown out of the cubist grid. But though De Stael had a healthy effect on two or three major artists, especially the English painter Frank Auerbach...
...exhibition of the art of Islam in Munich and by a visit to the Moorish monuments of Andalusia. As a result, he recalled, "I felt the passion for color develop in me." This was dramatically confirmed by Morocco, where Matisse's aesthetic of decoration took full hold. Flat pattern, inlaid motifs, sharp conjunctions of highly decorative forms -- as in the wonderful Basket of Oranges, 1912, with the sharp forms of citrus fruit and their leaves competing against the more diffuse pattern of the flowered silk drape on which they rest -- these were the signs of a world crammed with pictorial...
...paint goes on thickly but not with abandon. The surface seems to store light, like stone. It is opaque; you can't see through it or even into it. It is not about space. Besides, the inlaid, modular, even puzzle-like surfaces of Scully's recent canvases prevent the eye from roaming them too freely. Stray out of one box and you finish in another, not on a free horizon. Hence the density, the lack of spaces between things, which adds to the gravity of Scully's work. It has something to do with the largeness of architecture...
...summer -- was hardly a storming at all. The outnumbered and ill-supplied defenders (whose oppressed prisoners consisted of just two lunatics, four forgers and one aristocratic ne'er-do-well put away by his family) finally surrendered when they saw themselves confronting the rioters' artillery, which included a silver-inlaid cannon originally given to France by the King of Siam. And the commandant of the Bastille, who had tried to avoid further bloodshed, was subsequently hacked to death, his head stuck on a pike and paraded through the streets...