Word: painterly
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Dates: during 1980-1989
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...there were one, would the crowds go? In the U.S., Braque is not a sexy painter. Americans prefer their artists to be overreachers in the short run, romantic heroes or doomed saints in the long. Braque was neither. Apart from youthful enthusiasms for boxing and fast cars, his life was completely taken up by his marriage and his art; German shrapnel in his head in World War I must have given him the respect for mortality that few artists get until middle age. Braque was a tortoise, not a hare, and his art had none of Picasso's impetuous virtuosity...
...resorted to collage: scraps of newsprint or wallpaper pasted into the picture. This technique, so fundamental to modern art, seems to have been Braque's invention and not Picasso's. He made the first papier colle in 1912, Picasso following a week later. Moreover, Braque had been a house painter's apprentice and thoroughly understood the techniques of wood graining and false-finishing. He could reproduce a "real" fragment of a room, a table, a still life at will, whenever the image needed to be brought back to flatness and density out of the jumble of ambiguous signs...
Georges Braque, master of cubism and collage, may be the century' s most neglected great painter. A new exhibition fills in a few gaps...
...Philadelphia Museum of Art and treated to a piercing catalog exegesis by its curator Mark Rosenthal. , Johns' presence at the Biennale seems to close the American parenthesis that Rauschenberg opened there 24 years ago, and one leaves it convinced he is the deepest of living American artists, a painter whose subtlety and richness of imagination stand beyond doubt even when, as sometimes happens, one cannot find a direct way among the hints, inversions, repetitions and false scents in which his art abounds...
...formalist geography lesson could not last, of course. In the '80s it came apart like wet Kleenex. America has no single culture, but cultures. And so it should, since diversity is better than monotony. In any case, many ethnic Americans are still exiles within the dominant, white matrix. One painter in this show, Martin Ramirez (1885-1960), epitomized the extreme fate of the Hispanic as outsider. A migrant railroad worker from Mexico, Ramirez lost his powers of speech and became a catatonic schizophrenic in Los Angeles in 1915, was committed in 1930 and spent the last three decades...