Word: painterly
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Dates: during 1980-1989
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...Metropolitan Museum of Art in New York City, is about 35 years late in coming to Manhattan; but in this case, better late than never. No such comprehensive view of German art has ever been set before an American public; from the romantic visions and esoteric metaphors of painters like Philipp Otto Runge and Caspar David Friedrich in the first decades of the 19th century, to the robust dash and splash of Lovis Corinth at its end, there are 150 works by 30 artists, and they help fill a gaping hole in our sense of the actual patterns of European...
...letter of 1535 in which Pope Paul III hires "our beloved son, Michelangelo" as architect, sculptor and painter for the unfinished church of St. Peter's. As part payment, the Pope grants the young painter all the tolls from a Po River ferry crossing near Piacenza for life...
...summer of 1948. the painter Arshile Gorky entered his studio barn in Sherman, Conn., tied a noose in a rope, chalked a farewell message on a picture crate-"Goodbye, My Loveds," it read in broken English-and hanged himself. He was 44 years old, and he had been afflicted by most of the disasters that can befall a man: cancer, the destruction of many of his works in a fire, nagging poverty and the collapse of his family. His life had been a mass of insecurities right from his childhood in Armenia, where he barely escaped a Turkish pogrom...
...present everything Gorky touched as though it were a major statement. Curator Waldman's laudable aim has been to present Gorky's career as a continuous unfolding rather than a plagiarizing apprenticeship followed by a sudden "second birth" into originality. One is grateful to see the painter whole, but one wearies of sentences like, "The drawings are superb, yet the paintings that followed ... are even more extraordinary." These canonizations of the Self-Martyred Master (an Armenian-American Van Gogh, in effect) have an anesthetic effect. One senses that Gorky's hesitations and failures were as essential...
...emotional gestures," he maintains. "Human heads are things people care about. You can't mess around with them-but I'm interested in being flat-footed about it." And in this flat-footed way, Close has done more to redefine the limits of portraiture than any other painter of his generation...