Word: painterly
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Dates: during 1960-1969
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...general, Hartford concerns himself as much with the artist's attitude and method of working as he does with the artist's work. He believes that if a painter has the wrong attitude, if he creates by the wrong process, then his painting can't possibly be any good. Hartford may be right. But too often, he discussess the painter's methods without ever seriously mentioning the result of those methods. He objects that painters who apply paint to their canvasses with the wheels of sports cars, pairs of boxing gloves or naked, paint-smeared assistants aren't really artists...
...Hartford's main target is not the critics, the dealers, or even the painters in general; it is Pablo Picasso. He dislikes almost everything Picasso has done since the Rose Period and claims that "Picasso's work has had the effect of wiping out almost all the gains that have painfully and step by step been made in painting during the last five hundred years." Hartford considers Picasso a potentially great painter who never developed, but chose instead to create "by means of mental gymnastics such as those glorified in IQ tests...
Perhaps Hartford has a point. Perhaps one could legitimately reshape his idea and say that Picasso is a great painter who has painted very few, if any, great pictures. He is certainly a man whose innovations, and whose career as a history of innovation, have been more significant than his individual works. Hartford refers at one point to the great retrospective exhibit of Picasso's paintings held at London's Tate Gallery in the summer of 1960. Viewing this exhibit, which included paintings done by Picasso from the age of twelve right up to that year, one was greatly impressed...
...time is September 1942. The place is a detention room in Vichy, France, where Jews are being rounded up for identity checks and circumcision examinations. As they learn but can scarcely credit, they are destined for the crematory furnaces. Miller assembles a doctor, an actor, a painter, an electrician and others, all representative enough to express the playwright's viewpoints, and none real enough to leave the impress of their own specific personalities...
...specially designed the laminated Finnish birch furniture and the reedlike gold-dipped light fixtures and lamps. Following his principle that a straight line is the shortest distance to boredom, Aalto made walls undulate outward to make the whole room a stage for the view, and paneled them like a painter with pale American ash. "Wood," says he, "is close to human experience." Showing off Aalto's virtuosity with wood, these slender columns are made of tiny wooden dowels glued together like bundles of uncooked spaghetti. Another of Aalto's joys is a forest grove of hockey-stick shaped...