Word: monet
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...style of the '30s. Using Deco idioms was as far as Disney ever went in the direction of classicism, but it would be shaky to suppose he picked up the habit in a museum. By the same token, he may never have heard of Gustav Klimt or even Monet, but another section of Fantasia, the Pastoral, now looks like a shotgun marriage of the two, with Disney's plump, nippleless nymphs and plow-horse centaurs cavorting around the iridescent blooms and bubbles of a pond in Arcadia...
...photographs Raffael used had an obvious function: they froze time. Pictures of this size (some 6 ft. by 9 ft.) cannot readily be made by setting up an easel beside some river in northern California; only Monet, with his unequaled powers of observing and retaining a fleeting effect of light and movement, could paint his water-lily murals in open air at Giverny with gardeners struggling to haul the vast 19-ft. canvases in and out of his studio. But Raffael's images are not ruled by their starting point in the photo. They are recreation, not enlargement; between...
...Yankee Monet. The world became permeable. Patterns, arcs, straight lines, enclosures and tangencies now became the syntax of Kelly's formal language, in painting as in sculpture. He did not, in short, start from geometry. Thus Relief with Blue, 1950, whose flaring curves channel the eye into a pale blue slot like a narrow doorway, was suggested by the drapery of a set for Jean-Louis Barrault's production of Hamlet, which Kelly saw in Paris. Other paintings evolved from sketches Kelly made of arches reflected in the Seine, of water ripples, or of shadows on the metal...
...vote, would have voted for Ike. "Wyeth country"-the Pennsylvania farm land around Chadds Ford, where he spends the winter, and the summer acreage in Maine-has become landscape as myth or monument by now, the American middlebrow's equivalent of Cezanne's Mont-Ste.-Victoire or Monet's lily ponds at Giverny...
...thinks, as an approximate parallel, of the flat, densely woven brush-work in late Monet. Because Arikha uses undiluted black ink on untinted white paper, the shifts of tone depend entirely on the pressure of the brush. But his sense of gradation, from deep velvety blacks through grays to un touched white, rarely falters...