Word: paintingã
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According to Harry Cooper, associate curator for modern art for the Fogg, a “major painting?? like Marden’s would be worth “certainly over a million dollars...
...female form. With her painfully distended neck, puffy and veiled eyelids, stub-like nose and hairless head, it is difficult to determine whether her expression is one of miserable resignation or of defiant helplessness. Her androgynous body is bloated and motionless. Her paradoxically lush and painterly style enhances the painting??s macabre and moribund tone. The pallid fleshy hues that dominate Saville’s palette and the thick, deliberate way in which she applies these colors contribute to an overall sense of impotent frustration and internal rage. The subject is clearly a victim, but is unclear...
...archaic linear motifs of ships that are often obscured by explosions of saturated and fiery color. The exploding forms that litter these canvases surge with textured layers of gold, yellow, orange, magenta, crimson and deep purple that seem to leak and drip like rivulets of blood trickling down the painting??s surface. Many of the elemental ship symbols are pushed into the depths of the scene, behind thick blankets of foggy washes, to imply deep space and distance while also signifying depth time where these ships are only ghosts and imagined remembrances of what they once were...
...platform. At right, the tracks narrow and fade into the distance; the sense of space and perspective is remarkable throughout. The painting is composed of rich, warm colors, but its overall feel is brooding and reflective. However, it is equally interesting to look at a small component of the painting??the area with the wall and the columns, for instance, or the central wall of another “Subway” (1937)—and to note the textured variety and depth of his solid blocks of color and the sudden contrast but never brutal...
...Seurat, the impressionist artist who created “A Sunday Afternoon on the Island of La Grand Jatte.” The opening act, set in the 1880s, follows the progress of George’s work, presenting snapshots of the various individuals that provide inspiration for the painting??a baker, a nurse, a boatman, et al. Their appearances are brief, their depth non-existent; they exist to the audience only as they exist to George. Yet George, who skillfully observes his subjects—effortlessly taking them apart and agonizingly putting them back together by painting...