Word: lebrun
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...RICO LEBRUN - Nordness, 831 Madison Ave. at 69th. Lebrun was preoccupied with an image of humanity, "grand in meaning, even when disfigured by adversity." His paintings are filled with pain, and his illustrations for Dante's Inferno are some of the most forceful ever done...
Died. Rico Lebrun, 63, Italian-born West Coast painter and sculptor, a wistful, wiry Neapolitan whose lifelong preoccupation with the grotesque and the macabre led critics to think of him as a 20th century Goya, produced a savage, semi-abstract body of work illustrating grim themes classic and modern, from Dante's Inferno and the Crucifixion to Dachau and Buchenwald; of cancer; in Los Angeles...
Direct as Oils. Seventy-two artists have come to Tamarind to see and conquer lithography. Lipchitz' only litho bears Tamarind's chop. Richard Diebenkorn, Antonio Frasconi, John Hult-berg, Henry Pearson, John Paul Jones, Misch Kohn, James McGarrell, Louise Nevelson, Rico Lebrun and Jose Luis Cuevas have done prints there...
...tells stories of mutilation and decay. Human and animal forms writhe in agony, ravaged, burning, sometimes headless creatures caught, on canvas and in sculpture, in their final tortured moments. No artist since Goya has been more preoccupied with the portrayal of death than Rico Lebrun. To him, the exploration of mortality is a means of confrontation, and his expressions of "the fright of human flesh" are an attempt to come to terms with the fate of man. And these days, Lebrun is engaged in a private confrontation: at 63, he is suffering from cancer...
...Lebrun's emphasis on weight and power makes the almost classical grace of his women on the right of "Two Figures Happening" all the more remarkable. The figure on the left displays typically massive thighs and a heavy torso inclined forward. The right-hand figure is powerful but much lighter. She twists toward her companion and her left arm, bent at the elbow, is thrown across her face. There is grace but not freedom. Both figures really seem to be "happening," to be struggling free of the surrounding darkness. Even in a classical motif Lebrun preserves the heaving...