Word: monetization
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...walking across the footbridge across the Charles, the sun was setting with a few last rays lighting the green-covered walls and white spires of Cambridge. The cars rushed along on the highway with their headlights going and on the river a few last boats of crew raced. Monet and Raphael are right, I think, the world is beautiful...
...exhibition spans 50 years of French art, from an early Monet, Lady in the Garden, Sainte-Adresse, 1867, to a superbly rigorous and almost abstract design of what appears to be architectural motifs-pillars, blocks, steps-painted by Fernand Léger: Composition, 1918 (see color). To look at the stately procession of now-certified masterworks that falls between is to realize how inquisitive and catholic a taste Schuhkin had. This pudgy, stuttering Moscow importer held passionate convictions about the value of the "new" school of Paris, and backed them with an enthusiasm shared by no other collectors...
...recent American art can still experience some of the surprise that, more than two decades ago, the size of Francis' canvas (8 ft. by 6 ft.) provoked. But rather than engulfing the viewer, Opposites caresses: a sea, but of rosewater. Its character-like that of the huge Monet water-lily panels which Francis studied in Paris-is openness...
Still the artist's interest in his community has always been primary. In 1896 the famous Dreyfus case in France brought support from all the avant-garde artists of the time and caused Monet to sign a protest--the one overt political act of his life. George Orwell pointed out that when his works lacked political purpose they were lifeless. When great moral issues enter the world arena, artists react as a group as do other members of the community. In reaction to the Fascists in World War II, artists held shows of protest. The artist's subject matter...
...more-fortunately. In isolation, Resnick's work has developed steadily, and it now stands at an exhilarating pitch of concentration. He may not be Monet's follower, but his pictures do bear similarities to the late Monet lily ponds, not only in format -they are usually long, narrow rectangles, which drench the viewer in a field of color-but also in their light and density of surface. Resnick is a quite traditional painter, to the extent that he works in intimate, stroke-by-stroke contact with his painting. Brush marks pile on one another, forming a layered...