Word: monetization
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...Here goes," wrote Resnick a decade ago. "I am not the follower of Monet. I am not an admirer or follower of De Kooning. I am not an action painter. I am not an abstract expressionist. I am not younger than anybody or older. I will not take my hat off to any other artist living or dead in all the world. I know this." With that, he turned his back on New York and moved to New Mexico. Resnick's interests as an abstract painter seemed to become obsolete, superseded by all those miles of unprimed duck, flat...
Crossing the Water is a collection of poems written in between her first publication Colossus (1960) and her posthumous collection Ariel (1966). The poems are readable, clean, and expert; they deal with her obsessions. Like Monet's cathedral she insists in reviewing each in all lights, under all conditions: the death of her father, her widowed mother, her husband indistinguishable from her father, her suicides, the accidents, the hospitals. She uses her standard lynch pins sparingly and precisely: poppies, mouths, Jews, Germans, the black boot, reptiles, the small animal, the color red, and fire...
From Memory. The word Impressionism was coined by a hostile critic from one of Monet's paintings of 1872, Impression: Sunrise, which by virtue of a chance bequest in 1948 was one of the few paintings the Marmottan already owned (and may be the only clue to why Monet fils chose the Marmottan). To the end of his life, Monet insisted that his one achievement was to have worked "directly from nature, striving to render my impressions in the face of the most fugitive effects...
This impulse lay behind his obsessive working in series, catching the alteration of light from hour to hour on the same haystack, the same façade. But it does not explain the oddly abstract effect of such paintings. Nor does it account for the curious fact that Monet often painted from memory in a manner identical to his paintings from nature. The Houses of Parliament, London, with its diagonally surging, frayed green silhouette and glitter of thick silvery light, was produced at his house in France in 1905. For Monet's paintings become abstract to the extent that...
...Energy is eternal Delight"-so wrote William Blake. This is the theme of the last 20 years of Monet's work. He apparently perceived in some intuitive way what science had just begun to formulate -that all matter, from Charing Cross Bridge to the lilies on his pond, was energy. And energy's clearest manifestation was the frothing matrix of light in which, hour by hour, the forms of nature were dissolved and reconstituted before Monet's failing, astonished eyes...