Word: lampblack
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What weakens the antis' case is that they have not produced clear physical or documentary evidence that any of the glue and lampblack on the Sistine was put there by Michelangelo himself. James Beck cites a phrase in an account by Ascanio Condivi, a Renaissance biographer, about Michelangelo applying "so to speak, the ultima mano" (final touches) to the mighty fresco cycle; but Condivi did not say what medium these touches were in. Giorgio Vasari (1511-74), whose Lives of Italian artists is a fundamental source on the Sistine, describes how "Michelangelo desired to retouch some parts a secco, painting...
However romanticized its view of a Harlem that never quite existed, Queenie Pie rings with authority. There are perhaps unconscious echoes of Porgy and Bess in characters and settings; almost the whole second act takes place on a kind of Kittiwah Island. But instead of Gershwin's "lampblack Negroisms," as Ellington aptly called them, Queenie Pie has the authentic sass and soul of black America. This is what really happened to Bess after she left Catfish Row. Following its three-week run in Philadelphia, Queenie Pie moves to Washington's Kennedy Center for a month. After that, there ought...
...received mixed notices and was thought by many to be a failure; yet now it is considered by some to be the great American opera. Blacks were initially offended by its implicit Uncle Tomism; Duke Ellington declared, "The times are here to debunk Gershwin's lampblack Negroisms." Yet black singers have sprung to prominence in its roles, among them Todd Duncan (the first Porgy), Leontyne Price and William Warfield (in a 1952 revival) and Clamma Dale (in the 1976 Houston Grand Opera production). Today an opera written by a white composer that depicted a group of fighting, wenching, gambling...
...mother asked him to make a list of some laundry she was about to send out. Almost without thinking, Senefelder wrote the list on a flat piece of limestone that had come from the quarries of Solnhofen. He used an etching crayon of wax. soap and lampblack-and got the idea that he might cover the stone with acid that would eat away the part of the surface not protected by the crayon. It worked, but in the traditional way of relief printing. At length, it occurred to Senefelder that he could get a transferable design on his stone without...
...moments. Aside from painting, his greatest ambition was to found a home for "decayed English artists (Landscape Painters only) and single men." And at one exhibition when the high colors of one of his paintings overshadowed those in two nearby Lawrence portraits, Turner tactfully smudged his own canvas with lampblack-which he washed off after the show...