Word: painterly
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Dates: during 1970-1979
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...this bleak landscape, there are a few interesting outcroppings. One is a kind of surrealism that owes more to Hieronymus Bosch than to Salvador Dali. The best examples, currently at the Aberbach Gallery, are the works of Miodrag Djuric Dado, a Yugoslav painter who works in France. His L 'Hôpital has a jolting impact: beyond the window is the peaceful French village where Dado now lives. Inside, a demon in the shape of an owl crouches by the central crucifix, near the dancing man and his maimed and malevolent companion. A rotund dwarf grins and looks away...
Spiritual Partner. Wollstonecraft's first serious love was for a gifted, flamboyant, vain and bisexual painter named Henry Fuseli. The affair was predictably exciting and predictably disastrous, a power struggle that ended in the humiliating scene: Mary begging Fuseli's wife to allow a ménage à trois in which Mary was to be a purely "spiritual partner." Mme. Fuseli was not agreeable. In France, where Mary's fervor for the French Revolution was eventually chilled by the Terror, she fell in love with a flaky American adventurer named Gilbert Imlay; he left her with...
...Sica, equally enchanted, cast her as the doomed heiress in The Garden of the Finzi-Continis, and she has also appeared in a film by Luchino Visconti. Sanda lives on the edge of the forest at Rambouillet outside Paris with her son by Actor Christian Marquand, her current lover, Painter Frédérique Pardo, and Pardo's mother. When as a rebellious teen-ager Dominique settled on a stage name, it was Sand -as in George Sand, the elegant cigar-smoking 19th century novelist. But apparently a century seemed not enough to avoid possible confusion, so Dominique...
Nobody could be less like the French romantics than was Turner, with his cobbled-to-gether education, his stinginess and gruff bearing. But no 19th century painter, not even Cezanne, has changed our perception of landscape more radically. This is an opportune show, coming as it does when American formalism is dead and an interest in content is reviving. For Turner was a master of meaning, and to see him as a modern artist (which he was) means leaving the formalist hierarchies on one side...
...toward the end of Turner's life, the flow of myth and history subjects abated as he went deeper than any earlier painter had gone into the structure of color. At Petworth, enjoying the relaxed and eccentric patronage of Lord Egremont, he produced paintings like Music Party, Petworth: its forms dissolving in a bath of russet light would look extreme for Monet in 1895, let alone in England 60 years earlier. In the last landscapes, the world of detail and substance has been fully absorbed into the vibration of light, pure self-delighting energy manifesting itself. Except for Blake...