Word: painterly
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...comparatively underknown in Manhattan. Thirty-one years have passed since a New York museum devoted a show to his work. Why this should be, one can only guess. Presumably it has something to do with the belief that purely abstract painting was the climax of modernism, so that a painter whose entire sensibility was bound up with the desire to narrate large themes of love, death, myth and memory through allegories enacted by human figures went against some of the most cherished, indurated dogmas of the American art world...
Although Beckmann had to bear the burden of politics in full measure, there are no specific political references in his triptychs because as a painter he wasn't interested in the subject. He wanted his art to go beyond that, relying on what he called "the uninterrupted labor of the eyes" to realize experience in sensation, translating it into form, color and space...
...behind the structure of his unique style--forming it, giving it meaning--was the "wonderful chaos" of nature, opposed in its plenitude to the merely superficial attractions of what we would now call media culture. "Take long walks and take them often," he advised a young painter, "and try your utmost to avoid the stultifying motor car, which robs you of your vision, just as the movies do, or the numerous motley newspapers. Learn the forms of nature by heart so that you can use them like the musical notes in a composition...
...play opens with Daisy (Jennifer M. Iacono, a Princeton graduate and Belmont resident), a light-headed waitress who talks of hearing voices and has a paranoia of strangers. She begins by describes a life-altering dream that compelled her to become a painter. Regardless of how unstable her life may be, Daisy is determined to keep on painting until she gets it right. Having one clear goal in a sea of unpredictablity becomes a theme throughout the rest of the play. After Daisy's monologue, a customer named Jane (Dani D. Krasner '97) and her daughter Azalea (Phoebe Search...
Richardson is particularly informative on this movement, which Picasso and the slightly younger painter Georges Braque co-invented. "Henceforth," Richardson writes, "everything had to be tactile and palpable, not least space. Palpability made for reality, and it was the real rather than the realistic that Picasso was out to capture. A cup or a jug or a pair of binoculars should not be a copy of the real thing, it need not even look like the real thing; it simply had to be as real as the real thing...