Word: paints
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Dates: during 1990-1999
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...best-loved American artist, at least until he was usurped by an even shrewder judge of the national disposition, Andy Warhol. To the art world Rockwell was an exasperating holdout, the man who didn't care that in the 20th century it was simply uncalled for to paint sweet-tempered vignettes in a representational style at something like a molecular level of detail...
...history--the story that moves through the Impressionists and Cezanne to Cubism, and from there through ever greater reaches of stylization, psychic turmoil and abstraction--has been under pressure for years to admit developments that can't be legitimized under that model. The creamy maidens of Victorian genre painting, "outsider art" by the mentally ill, hard-to-categorize painters like Jacob Lawrence and Florine Stettheimer--all of them have been tried out on museum walls. It was only a matter of time before attention turned back to Rockwell, a man who could paint cute but intricate scenes like The Runaway...
...into the 20th century the ancient pleasures of visual storytelling and fine-grained description. These happen to be the same enjoyments that art has largely turned over to photography, movies and television, none of which can offer back the visual world with anything like the mouth-watering delights of paint...
...rest of the story plays out literally like an irreversible reaction. Rothko, who in addition to being radically innovative with subject matter, was also extremely experimental with media, haphazardly using a variety of unstable compounds such as egg whites and cheap Woolworth's paint. For the Harvard murals, Rothko mixed ultramarine, a stable blue pigment, with lithol red, a highly non-colorfast red hue, to yield the then crimson background. The murals' appearance today is the result of fading due to ultraviolet radiation that shone through the bay window of the penthouse. Furthermore, after the installation, the penthouse was turned...
...some people why they refuse to see Stomp, and they will paint a picture of a bored four-year-old running around, banging pots on a rainy day. That perception hardly does justice to the performance. Sure, it doesn't take a genius to enjoy the show. It takes, rather, a genius--or in this case two geniuses--to turn the simplicity of sound and dance into a spectacular evening of entertainment. In 1991, creators Luke Cresswell and Steve McNicholas realized the simple joy that a four-year-old can take in banging pots, and brought that happiness...