Word: masaccio
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...began his professional life in his native Sydney, Australia, as a painter. It was the sale of his works that financed his early efforts at art criticism. In 1964 he moved to Port'Ercole, Italy, where, he says, "a permanent fixation on Italian painting from the birth of Masaccio to the death of the younger Tiepolo took over." The experience proved fatal to Hughes' artistic career. He renounced painting because, he says, "having been to Arezzo to see the Piero della Francesca frescoes of the Legend of the True Cross, I realized that I could never in conscience give...
...seicento equivalent, perhaps, of our "postmodern" cult of irony--Caravaggio's work proposed a return to the concrete, the tangible, the vernacular and the sincere. For all the theater and guignol in his work, Caravaggio had far more in common with the great solidifiers of the Renaissance, from Masaccio to Michelangelo, than with the euphuistic wreathings of late mannerism. He reclaimed the human figure, moving in deep space in all its pathos and grandeur, as the basic unit of art--the one that provokes the strongest plastic feelings by mobilizing our sense of our own bodies. He freed it from...
...zanne's anxiety-the scrupulousness of a genius without facility -would soon become one of the touchstones of modern consciousness. One cannot guess what form art might have assumed without the example of late Cézanne. He was to cubism what Masaccio had been to the Florentine Renaissance. But Cézanne's importance as progenitor of modern art has, paradoxically, blurred him as a painter. As the English art historian Lawrence Gowing remarks, "In his last years Cézanne was reaching out for a kind of modernity that did not exist, and still does...
...photo by Gjon Mili of a walking nude, done in imitation of Duchamp's Nude Descending a Staircase, which was itself based on an earlier sequential photo by Marey. The image stutters backward through technological time. But then it also looks like the grief-stricken Adam and Eve in Masaccio's Expulsion from Eden, and that turns the enormous grainy effigy of John Kennedy (then dead), with its repeated pointing hand, into a type of vengeful deity. Rauschenberg has had great moments of social irony. "The day will come," Edmond de Goncourt wrote in his journal in 1861, "when...
...large. They fill the foreground. They make it uncomfortable to be the traditional audience of salon painting, the middle-class observer. They are also deliberately iconic. Herbert points out that in Millet's Going to Work, 1850, the young peasant couple striding through the fields is based on Masaccio's fresco of Adam and Eve, expelled from Eden and condemned to labor. This resonance is deepened by the potato basket on the wife's head and by the thong she carries like the attribute of a martyr...