Word: painterly
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...question that would help a handful of American artists to the breakthroughs that produced Abstract Expressionism, the triumphs of Gorky, Willem de Kooning, Jackson Pollock and so on. Picasso would not be the only model they looked to. In their late-night arguments, the work of every painter from Uccello to Kandinsky was brought in for questioning and combed through for motifs and ideas, for rules and for permission to break them. But Picasso was the man, the one continually bursting through the confines of art history and coming back with discoveries worth bursting the confines for. He gave freedom...
...first they had to learn that he existed at all. That turns out to be a story that begins with the painter Max Weber, a Russian Jewish émigré to New York City. It was Weber who brought the first Picasso canvas to the U.S., in 1909, on his return from a four-year stay in Paris, where he had befriended the indispensable Gertrude Stein and her brother Leo, cocksure tastemakers and champions of Picasso. By that year Picasso and Braque were already off and running through the first stages of Cubism. Meanwhile, advanced American painting, such...
...makes a showing in drab black dress, a prim contrast to Thomas Hovenden's slumped self-portrait (1875). But the star of the show is John Singer Sargent's notorious Madame X (1884), herself an American transplant who moved to Paris as a child, and who, like her expat painter, would always be an outsider in her adopted city.
...what one official diplomatically described as "communication problems" with her Belgian curating partner. This year, Taipei will try the pairing of American curator Dan Cameron and artist-critic Junjieh Wang. Chinese video artist Cao Fei, who will produce a new work for the show, will be joined by Japanese painter-photographer Kazuna Taguchi and almost 40 other artists. BRISBANE: The Asia-Pacific Triennial in Brisbane (Dec. 2 to May 27, 2007) is often dwarfed by the Biennale of Sydney, a 32-year-old extravaganza now classed in the same lofty league as the Venice or São Paolo events...
Arriving in Paris in 1924, Hungarian-born Gyula Halász was anything but a photographer. A painter and occasional journalist, he even confessed to despising the art form. But he was a night owl, attracted to a city couched in the glow of street lamps and dense mist. Nocturnal Paris was, to him, a "world of pleasure, of love, vice, crime, drugs ... Paris at its most alive." The work of Brassaï, as Halász became in 1932 (meaning "from Brassó," his native village), made him one of the most admired and enduring photographers of the last...