Word: paint
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Dates: during 1950-1959
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...sound man hastily "rolled a loop" of track as an airplane passed over (so that the intruding racket could later be dubbed into parts of the scene shot after it had disappeared),Webb asked why. He watched stage carpenters make golden oak out of cheap pine sets with yellow paint and combs. He patiently learned about studio lights (brutes, seniors, juniors and inky-dinks, in order of their size), and the tricks of lighting eyes and burning out mike shadows...
...sufficient unto themselves, that the artist lived in his picture, that the picture was a work of tensions, and so forth ... It was said that the artist was keeping pace with science; relativity and the time-space continuum were called upon; and for the most ambiguous of statements in paint it was asserted that the artist was reflecting the confusion, the disillusion, of our times. "This sort of rationalization after the fact reached such a point . . . that the correspondent of one European paper was moved to refer to some of the more extreme nonobjective painters as 'the deadend kids...
...Rufino Tamayo, the Big Fourth of Mexico's famed artistic quadrumvirate (the others: Orozco, Rivera and Siqueiros), 1953 was a fat year. In twelve months crowded with work and honor, Tamayo completed two huge murals in Mexico City's Palacio de Bellas Artes, painted a monumental El Hombre for the Dallas Museum of Fine Arts, and won a first prize of more than $5,000 for a roomful of paintings in Sao Paulo's biennial exhibition. He also found time to paint more than a dozen smaller pictures. Last week 17 of his new canvases went...
Many of the works in the current show are done in Vinylite, which Tamayo likes because of its quick-drying qualities. And, says he: "If you don't like what you have just painted, you can wipe it out with acetone. In oils, if you decide to do something different, you paint over it, and later, ghosts appear through the overpainted...
...brevity, the dialogue does catch the Fitzgerald atmosphere of American expatriate life in Paris during the depression. Unfortunately, the two characters who most represent this slow degeneracy don't look their parts. Robert Reid--playing a painter who doesn't paint, but who does drink--is too youthful and well fed to be convincing. Likewise, pretty Jean Smith's portrayal of the seductress is believable only if the audience closes its eyes. They handle their liens well, but both could have helped their parts by staying up the night before...