Word: inners
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Dates: during 1960-1969
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Bitos commits a characteristic faux pas by appearing in full costume. This also attests the nature of the man, a small-minded, bloody-minded egotist, seething with inner fury and monumentally insecure, inflexible and prideful. Maxime and his friends hate Bitos for his lowly origins, for the brainy diligence that made him first in school and for the fanaticism with which he is hounding and executing wartime collaborationists...
...seem real, at least onstage, unless she can spar, jaw-to-jaw and eyeball-to-eyeball, with her man. As Ibsen would have been the first to recognize, Nora competes at home nowadays, and the doll's house is a boxing ring. It is this laughter of inner recognition that greets Pussycat. All truly modern love stories end in just one way: "They scrapped happily ever after...
...eyes are open and alert, as if Beckmann is seeing himself apart from himself, viewing his face as a mask. He captures a vision of himself, not "through a glass darkly, but face to face, even as he is seen." Beckmann makes visible and concrete, his clusive identity, his inner self: "If you wish to get hold of the invisible, you must penetrate as deeply as possible into the visible. My aim is to get hold of the magic reality and to transform this reality into painting....It is reality which forms the mystery of our existence." Reality for Beckmann...
...these moments of the self-portrait, Beckmann comes to grips with his own inner space and manages to fill up the horrifying area surrounding...
...borrowed color from the walls of her bath. While fauvism, cubism, even dadaism and surrealism bypassed Bonnard, he kept his eye on nature and his wife's place in it. To many, through the 1930s and 1940s, Bonnard was oldfashioned, a man preoccupied with outer nature rather than inner psychology. His art seemed wishy-washy, facile, banal in its apparent sentimentality...