Word: paint
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Dates: during 1950-1959
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...restive talent of the young Picasso, tramping about Paris with a Browning automatic flamboyantly tucked in his belt, was quickly evident as he began to paint gaunt laundresses, half-starved nudes and such El Greco-haunted scenes as Blind Man's Meal. Their signature was the all-pervading blue monotone, a color which Picasso has since explained "was not a question of light or color. It was an inner necessity to paint like that." The clowns and buffoons of the Rose period that followed still astonish by their sure draftsmanship and haunting melancholy...
...desire to be as free of preconceived ideas as possible has allowed Gerassi to paint in a number of different styles. There are very abstract red blotches on green backgrounds that have an affinity with Pollock and the Rorschach tests, as well as recognizable still lifes and landscapes. In this sense, Gerassi reminds us of his compatriot Picasso although the fluent shifts in style by Picasso are motivated by a more intellectual problem-solving mentality...
...different jobs which he believes have added to his ability as an artist. "50 jobs," he says, "makes one painter." He advises others to follow his example. "It is most important," he feels, "for a young artist to take a job so that he will be financially free to paint as he pleases. Never try to make money by painting what you do not feel by painting pictures as you would produce merchandise...
...Hollywood morals of her heyday as if they were burning issues. For all practical purposes, the Ku Klux Klan is just as dated, but Wallace produced its Imperial Wizard Eldon L. Edwards in a flurry of bedsheets and a flourish of portentous announcements. Edwards, a tongue-tied Atlanta paint sprayer, was a sitting duck for Wallace's speechifying, loaded questions. He managed to emit a few typical noises; e.g., the Bible teaches segregation (though he could not quote a supporting text). But the K.K.K., long discredited in the South itself, is not a real issue. Segregation...
...greatest pertinence to the study of art. But this approach is necessarily short of the complete picture. The artist's approach is not historical, but creative. It is unsatisfying both to the student who wishes to understand his subject fully and to the student who harbors ambitions to paint or sculpt himself, to teach fine arts without imparting some understanding of the creative process. If an understanding of creativity, its drives and disciplines, are fundamental to the artist, it is inconceivable to assume that they are "extracurricular" to the art student...