Word: painterly
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
WILLIAM PALMER-Midtown, 11 East 57th. Palmer is a teacher as well as a painter, and art students have much to learn from his glowing use of underpainting and subtle glazes. The show includes 25 new landscapes. Through...
Apollinaire didn't steal it really. That heroic act was reserved for an Italian house painter with an inflated sense of national pride. But Apollinaire and the young Picasso did happen to be harboring some statuettes that a zany friend had stolen from the Louvre as a joke. Once, during the national furor which followed, Apollinaire and Picasso wandered the streets of Paris for an entire night, miserably toting the incriminating statuettes in a suitcase, not knowing whether to throw them or themselves into the Seine and not quite daring to do either. Eventually, Apollinaire had them returned...
...Steegmuller is never certain whether, as a man, Apollinaire is some kind of contorted hero or merely a monster of genius. The lapse is not surprising. Apollinaire's friends weren't sure either. Marie Laurencin, the painter with whom he lived for four years, has left history little more searching commentary than the fact that Apollinaire insisted they make love in a chair because he couldn't bear to have his bed rumpled...
...nsler. 234 pages. Putnam. $25, and ITALIAN DRAWINGS by Winslow Ames. 141 pages. Shorewood. $4.95. Drawing, it has been remarked, is the art of omission, and these two fine volumes display the art-and the inner workings of genius-at its highest. Great Drawings travels from 15th century Painter Jan Van Eyck's warm and perceptive silverpoint, Portrait of Cardinal Niccolo Albergati, to the sensual shorthand of Matisse's Female Nude from the Back. Italian Drawings, more modest in scope and quality of reproduction, restricts itself to the 15th to 19th centuries. The subjects in both books range...
...sees. This collection does not reproduce the artists' visions with particular distinction, but it is a comprehensive survey of the self-conscious art from Masaccio (1401-28) to Joan Miró and his grotesquely purple Self-Portrait of 1938. The lesson of the book is that a true painter always reveals more of himself than he knows-or perhaps wishes to. Rembrandt, the most prolific of all self-portraitists, paints himself at 60, his face crumpled in laughter but the eyes full of an old man's sadness. Van Gogh shows himself looking with slanted, anxious eyes...