Word: painterly
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Dates: during 1980-1989
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...since one of the main facts of contemporary art is the resurgence of figurative expressionism, it seems ridiculous that the East should not see what, despite some trimming, amounts to the definitive exhibition of the man, born a century ago in 1884, who was the greatest German painter of the 20th century...
...average vulgar art," he noted in one of his copious journals, "which doesn't live between sleepy fairy-tale moods and poetry but rather concedes a direct entrance to the fearful, commonplace, splendid and the average grotesque banality in life." This was in 1909, when the young Leipzig painter was just a month shy of 25. He was not far from such ambitious images of modern catastrophe as The Sinking of the Titanic, 1912. This enormous, early painting, 8 ft. 8 1/2 in. by 10 ft. 10 in., is a "journalistic" homage to Gericault's Raft of the Medusa...
Mallon lists Pepys as a chronicler, one of seven categories of note takers. The others: travelers, pilgrims, creators, apologists, confessors and prisoners. To some degree these are arbitrary distinctions; the 19th century British painter Benjamin Haydon recorded his financial and artistic woes in 26 confidential volumes. As one of his last exhibitions fails, he laments, "They rush by thousands to see (Tom) Thumb. They push, they fight, they scream, they faint . . . They see my bills, my boards & don't read them." Months later he quotes King Lear, "Stretch me no longer on this tough World," and commits suicide...
...SUNDAY IN THE COUNTRY. A gentle old painter (Louis Ducreux) tries one summer Sunday to reconcile family responsibilities with a renewed passion for his art. In this hugely affecting miniature, Director Bertrand Tavernier illuminates the twilight of a man's life with the colors of compassion...
...Museum of Contemporary Art, is now on view at the La Jolla Museum in La Jolla, Calif. The show will also travel to Chicago, Montreal and Washington. It is not a show to miss, partly because it has so much to say about the problems of being an "engaged" painter in America today. At root, they come down to how painting can operate in the realm of ideas about violence and power when its audience's sense of the terrible has been so largely pre-empted by photography, film...