Word: picassos
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...modernity itself was the degree to which sculptors angled their work away from the accepted forms of social communication via the human figure. Not because they lost interest in the figure -- on the contrary, the years 1900-1950 were rich in figure sculpture and body-haunted objects by Matisse, Picasso, Archipenko, Brancusi, Miro, Calder, Giacometti and others -- but because they did not want to serve the social consensus in the way that statuary did. Consequently, few public commemorative sculptures made in the past 75 years have any real importance in the modernist canon; and conversely, modern public sculpture is mostly...
Marble, wood and bronze remained fundamental materials, but they were used in unorthodox ways; and in addition, a sculptor could use any kind of junk, from cardboard, tin and pine boards (the stuff of Picasso's and Laurens's cubist constructions) to the wire and celluloid favored by constructivists, the steel plates and boiler ends forged by Smith, and so on down to rocks, twigs, burlap, twine or even the artist's own dung, which, canned and labeled by the Italian Piero Manzoni in 1961, provided a nastily prophetic comment on fetishism in late modern art. On its road away...
...could total billions of dollars in Marcos assets. There were signs at the 66th Street town house, formerly the Philippine consulate, that the choicest goodies had been lifted: empty jewel boxes whose satin linings still bore the impress of glinting valuables, and clean blanks on walls where paintings by Picasso, Monet, Van Gogh and Goya had hung. Over the decade, Mrs. Marcos' New York City purchases alone topped $100 million...
Their problem was framing a pictorial language to describe rapid stimulus and movement. They came up with an amalgam of pointillism, cubism and photography. Picasso and Braque had built cubism on the scrutiny of a single object from multiple viewpoints: the table stood still, the eye moved. In futurism, the eye is fixed and the object moves, but it is still the basic vocabulary of cubism -- fragmented and overlapping planes -- that tells us so. Carra, Boccioni and, above all, Balla prized the photographs of sequential movement taken by Eadweard Muybridge and Etienne Jules Marey. Some of Balla's own paintings...
...real sense of an old man's rage and an old man's freedom -- the sort of deliberate clumsiness by a highly gifted draftsman, the sense of the ludicrous posture, the gross energy of the old satyr, that fires up our responses when we look at a good late Picasso. Nowhere does this come out better than in Theseus and Antiope, the huge canvas he began in 1958 and worked on intermittently for 16 years, leaving it unfinished at the time of his death. If one can speak of neo-expressionism by an original expressionist, this painting is it. Everything...