Word: paint
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Dates: during 1960-1969
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...with a pair of gifted squires, Alan Jay Lerner and Frederick Loewe, now the best writer-composer team in the American musical theater. Lerner, the librettist, and Loewe, the composer, have already proved themselves worthy of the King. Their last try was My Fair Lady. They also did Brigadoon, Paint Your Wagon, and the much-Oscared film Gigi. They have now written and are still rewriting on the road Camelot, probably the biggest, most beautifully set, and most complex musical play yet attempted a spectacular effort to compress into one lyrical evening the essence of Arthurian legend...
...march from three notes offered him at random. Without lapsing into triteness or parody, he has an extraordinary ability to suggest geographical locale, whether it is Scotland, Spain, or the American West, which has never been more eloquently described in melody than in I Talk to the Trees from Paint Your Wagon. He is sometimes accused of being derivative, but this is rarely the case. Preparing for Wagon, as Singer David Brooks recalls it, Lerner played a record of Ghost Riders in the Sky for Fritz over and over again, then Loewe sent one more ghost into...
...nine weeks in Detroit. What's Up (1943) was their first on Broadway. The Day Before Spring (1945) won lower-middling reviews and closed after five months. Then 1947's Brigadoon spread the L. & L. tartan down Shubert Alley. In 1951 they achieved a sluggish eight months' run with Paint Your Wagon, a mining-camp western with an awkward book and a rousing score. Lerner, meanwhile, had been moonlighting on his partnership with Loewe, won an Oscar for the movie, An American in Paris. The partners came together again in 1954 to see if a musical could be made from...
...this metamorphosis, the gods presumably share Olympus with The World's 100 Great Paintings. To satisfy this lofty status, Malraux exalts the secular painter's function to a kind of priestly vocation. Sacred art deified its subject; profane art deifies the calling of the artist. "Cezanne," Malraux argues, "did not wish to represent apples, he wished to paint pictures...
...probably the most self-effacing artist who ever lived. He kept his figure paintings turned to the wall and referred to them deprecatingly as "my monkeys." Of his contemporary, Painter Eugene Delacroix, he would say: "He is an eagle, and I am only a lark." But for all his modesty, Corot was a single-minded man. He flatly refused to work in his father's drapery shop, rejected the fiancee his parents selected for him, even refused to marry at all. All that Corot ever really wanted to do was paint...