Word: monetization
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...Their existence was a state secret, and Piotrovsky himself did not see any of them until 1992. Piotrovsky plans to put 70 of the paintings on view in a major exhibition next March. He gave out no list, but among them are thought to be works by Van Gogh, Monet and Renoir. The star of the show -- as far as anyone knows -- is to be one of Edgar Degas's finest paintings, listed as "presumed destroyed" in studies written since 1945 and known only through a black-and-white photograph: Place de la Concorde (1875), stolen from the Gerstenberg collection...
...declamatory, wambling brushstrokes; the color -- mostly pink -- is bright and boring. Yet you could never write De Kooning off. He came back in the late '70s with some big, rapturously congested landscape-body images with a deeper tonal structure that, though they do not support the comparisons to late Monet, Renoir, Bonnard "and, of course, Titian" that David Sylvester makes in his catalog essay, certainly confirm that the movement of De Kooning's talent was not on-off, but ebb and flow...
...Thorvaldsen (1828) boasts an intense dramatic tone, vaguely reminiscent of David or other French portraitists of the era. Kyhn's landscapes suggest the influence of Corot. To complete the simultaneous development, Kroyer's blurry seascape in Self-Potrait Painting on Skagen Beach (1907) has overtones of similar works by Monet...
...Zedong and not a few minor figures including Saddam Hussein -- has meant more to more people in the past 60 years than all the sanctified Modernist styles, from Fauvism to Pop, rolled together. Like Modernism's, its roots lay in the 19th century. If Modernism grew from Manet, Monet and Cezanne, Socialist Realism emerged from their conservative opposition -- the academic and narrative work that was the institutional art of Europe a century ago. In Russia the hugely popular landscapes and genre scenes of the Peredvizhniki, or Wanderers, led by Ilya Repin (1844-1930), were promoted as a mirror...
...right place, not a slippage in the stripes and Benday dots. Its flat, posterish colors will read with infrangible aplomb. It will parody other art, as in the past Lichtenstein's work has parodied everything from Art Deco to synthetic Cubism, from Franz Marc's horses to Monet's versions of Rouen Cathedral, from Mondrian's squares to the generic brushstroke of late Abstract Expressionism. It will have a number of concealed jokes for the art-initiated, often genuinely funny ones -- as when, redoing Matisse's Still Life with "Dance" in 1974, Lichtenstein inserted a comic-strip blast of musical...