Word: morbidities
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Dates: during 1950-1959
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...collection of prints now at the Fogg Museum, Munch betrays little social consciousness. He dwells instead in the primal world of individual fantasy and frustration which give his art universal appeal. The exhibit shows that the morbid Munch was at his sardonic best between 1894 and 1900, when he created such masterpieces as The Cry and The Kiss. Later, his subject matter was more commonplace and his skill at dramatizing his ideas declined correspondingly. Although Munch might be called, after Van Gogh, the father of Expressionism, some of his prints have an affinity in style with Gaughin's flat...
...search for the "naked truth." Having lived ascetically before marriage, he lived monogamously thereafter. Schnitzler discovered what he called "fictional truth," had a series of well-publicized affairs with glamorous actresses, and feverishly wrote about a character named Anatol (a thinly disguised self-portrait) who was a gay yet morbid epicure, a dandy with a death wish who thought he had to die to be truly free. Through the turmoil of world war and revolution, Schnitzler wrote play after play (notably Der Reigen or La Ronde) in which the characters were driven by unconscious impulses and riven by unconscious conflicts...
...mind than his. She was well read and neither life nor people fooled her. At 19 she could look back uneasily on "childhood, innocence and ignorance, before the down is rubbed off and the skeleton in all things revealed, and that fiend Doubt become our fireside companion." A bit morbid, perhaps, but still more acute than anything young Henry had yet written. She could also be cattily tart. After seeing Victoria before she became Queen. Fanny set down: "A short, thick, commonplace, stupid-looking girl . . . without even a good complexion...
Richier rejects the suggestion her work is morbid. Says she: "I merely try to see below the surface of things." As an example she points to Tauromachy (see opposite), in which the sculptress has interposed a preview of destiny between the viewer and the bullfighter enjoying his moment of triumph. Explains Richier: "He killed the bull, but he knows he too is going to die some day." By taking her inspiration from the forms the clay suggests as she works, Germaine Richier has opened the door to subconscious promptings which French critics find "disturbing, irritating, but teeming with life...
...might also be possible to argue that the play could use a different leading man. Barry Sullivan, in the role of the police lieutenant, blurs some of the finer tones of a complex and potentially almost tragic character. A paradoxical mixture of physical strength, heroism, and of nearly morbid sensitivity, the lieutenant is driven to break South Africa's iron law by the frigidity of his wife and a lack of understanding on the part of his father. Sullivan's portrayal of the man's strength is clear and impressive, but his weaknesses appear as if they were brought...