Word: miro
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Dates: during 1980-1989
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...change in the style of American painting that, though it seems less momentous now than it did 20 years ago, was quite decisive. This was the passage from De Kooning-style "gesture" (the most imitated side of '50s painting) to allover soaking and staining, derived from Pollock and Miro via Frankenthaler. No doubt, in the end, even the toughest woman artist shrinks from constantly hearing that she painted a "seminal work," but Frankenthaler's Mountains and Sea, 1952, was certainly generative. It was the picture that provoked American color- field painting...
...early Dali was a different matter, an insecure and ravenously aggressive young dandy, wringing an uncanny poetry not only from his own neurosis but also from the psychic inflammations of Europe in the 1920s and '30s. Like his fellow Catalan Joan Miro, Dali was deep-dyed with images of place, among them the contorted rocks and flat beaches of the coast near the town of Figueras, where he grew up, and the flowing, bizarre buildings of Barcelona's master of art nouveau, Antonio Gaudi...
...large penthouse. Fresh flowers are everywhere. Bathrooms are glass and gray slate with big round tubs. There are fireplaces in most of the bedrooms. No pictures of sailboats and sunsets; in fact, no art at all, except for a single Paul Klee or Joan Miro postcard, mincingly placed behind a candle holder...
...nine artists. Mondrian's Composition in a Square with Red Corner sold for $5.06 million, the second highest price ever paid for a 20th century painting (Yo: Picasso, a self-portrait, went for $5.83 million in 1981). Renoir's La Coiffure was gaveled down at $3.52 million; Joan Miro's Woman in the Night at $2.53 million; and Henry Moore's Reclining Figure (Festival) at $1.76 million. Sotheby's great rival, Christie's, rang up $30.6 million over two days. Most of the top-ticket items were purchased by dealers on behalf of unnamed clients...
...asylum, Charles-Elzeard Trabuc, is to receive a vivid lesson in the adjustment of manner to motif. Trabuc's cotton jacket, with its emphatic parallel stripes of blackish-blue, is as explicitly stylized as anything produced within the next quarter-century by Klimt or, for that matter, Miro. But in the head, this graphic energy is subordinated to volume, to the immobile self-containment of a man who, Van Gogh realized, "has seen an enormous amount of suffering and death." The chin and mouth are compressed, but the brow bulges irresistibly from its pale background, the relation between head...