Word: painter
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...Brooklyn house painter, Yetnikoff joined CBS Records as a lawyer in 1961 and rose to the president's job by 1975. He proved to be a superb negotiator, a world-class schmoozer and a self-described "rabbi, priest, marriage counselor, banker and shrink" to the leading rock stars. As the years wore on, however, Yetnikoff seemed to relish waging wars on those he felt were disloyal...
This comes through very strongly in the work of the Catalan artist Joaquim Sunyer (1874-1956), chief painter in the Noucentista group, a circle of artists and writers who reacted against art nouveau in Barcelona after 1906. Sunyer's Pastoral, 1910-11, was owned by Joan Maragall, Catalonia's finest modernist poet, who wrote about it as a virtual icon of national identity: "Consider the woman in Sunyer's Pastoral -- she is the embodiment of the landscape; she . . . is not there by chance: she is destiny." It was out of that conservatism -- the cult of the parental farmhouse...
...hailed by critics like the formidable Douglas Cooper -- whose vociferous dislike of De Stael's later work contributed to the depression that caused the painter to jump from his own balcony in Antibes -- as "the most considerable, the truest and the most fascinating young painter to appear on the scene, in Europe or elsewhere, during the last 25 years." His influence was wide. Those cakes of thick pigment, those creamy, generous brushstrokes inlaid like rough marquetry over their contrasting grounds, struck many artists in the 1950s as a viable alternative to the linear, quasi-geometric abstraction that had grown...
...generous to the point of folly; when money came, he threw it away like a cavalryman on a binge. He was acutely conscious of lineage and tradition. The art of the past, one might say, became De Stael's absent father. He began his public career as an abstract painter and backed into figuration, thus annoying a number of Parisian critics who prided themselves on their advanced taste...
...painter's form, the pigment is both concrete and extremely sensitive. De Stael could give a sheet of paint, applied with a wide palette knife, the receptivity and sheen of skin, inserting gradations of color so subtle that they have no hope of showing up in reproduction. In Nice, 1954, with the simplest means -- a few bars of awning-green and two shockingly vivid shapes, a red and a black, that may signify deck chairs or possibly buildings -- he could put you right in the middle of a Mediterranean summer. Still, the punch of the image, which would otherwise...