Word: painting
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Dates: during 1970-1979
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...were to paint a picture of the devil, I would use the eyes of Ayatullah Khomeini. They are cold, calculating, cruel, cunning, void of love and honor. I'll take a big toothy smile any day to this man's hard expressionless stare...
...curious thing was that he had so little natural talent as an artist; no fluency, little relish. Magritte's paintings from the early '20s are painfully bad, academic cubism-as awkward, in their way, as the cubist paintings of another great ideas man of our time, Marcel Duchamp. Magritte had a poor sense of color, and his drawing was mere tracing; the paint surface is as dead as an old fingernail...
...point of his career was in the 1940s. He decided, in a mood of perversity, to paint "modern art" -pictures full of impressionist fuzz and expressionist slather. The Gorgon, 1943, a wretched parody of Monet applied to a surrealist syntax, may be the least inept of these. If anything, they showed how far Magritte's real gifts lay from the orthodox processes of modernism. Nor did his first essays in the surrealist manner, done in 1925-26, indicate much about the artist to come; they are, for the most part, grab bags of motifs from other painters, chiefly Ernst...
DEWITT: Yeah. I think so. Cimino was trying to paint Vietnam as a moral hell, but he did so at the expense of an entire race. It was quite a feat to make all the "Gooks" look alike--they don't, you know. It's powerful as hell, but there are too many improbabilities, and it's very disturbing morally. I think it will do for the United States in Vietnam what Gone With The Wind did for the Confederacy in the Civil War. In some ways, The Deer Hunter may be the Gone With The Wind of our time...
...more orthodox figurative art, there is no lack. Philip Pearlstein, that master of the art school nude−the flesh always rendered cold, the formality of the body emphasized by photographic-style cropping−has produced one of the best paintings of his career in Female Model on Platform Rocker, 1977 -78, with its uneasily tilting floor line and stutter of shadows cast by the slats of the chair across the pale wall. California's Robert Graham is represented by a group of his small, fragmentary bronze torsos, minutely finished, imbued with something of the erotic dandyism...