Word: picassos
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...Reeba! is lively and typical. The room is a jam- packed maze of tables, counters and bars, with all the tapas symbols in place: hanging hams and sausages, ropes of garlic and peppers, and sides of dried salt codfish. Noise, music, tiles and fake Spanish paintings (a not- quite- Picasso Guernica here, a playful pseudo-Miro there) attract yuppies of all ages, who begin to line up at 6:30 every evening. Among the more delectable possibilities: red beans with snails, a layered potato omelet, white beans with clams, and deep-fried eggs. Usually on hand are steak with chili...
...devoted family man, Wolper is eager for the post-Fourth Stage 3, his return to Los Angeles and his eclectic pastimes. He is an avid collector of Lincoln / memorabilia and Picasso sculptures, an unstinting volunteer for aid to medical research and a nut about the Dodgers. Ahead are projects that have been on hold: TV productions on Picasso, Napoleon and Josephine, and Betty Ford's autobiography, The Times of My Life, are all coming in 1987. But no more civic spectaculars: "I'll pass the torch to the next generation...
Though such pairings were tailor-made for satire, nothing suggests that his Yanqui patrons were masochists. They wanted the best public art they could get and believed, with reason, that Rivera could supply it. They thought him a cross between Whitman and Picasso...
...populist stereotypes of love, comradeship, struggle and work. It offended the etiquette of alienation. Too bad--he was still an extraordinary painter, a lighthouse of vitality. Nobody could say Rivera kept a steady political line, but at least he was no ideologue; his socialism was instinctive and antitotalitarian, like Picasso's, but much deeper. Rivera gave Leon Trotsky asylum from Stalinist assassins (including the painter David Alfaro Siqueiros) in his own house at Coyoacan, but two years later Trotsky moved out, complaining that he no longer felt "moral solidarity" with Rivera's "anarchistic" views. In 1940 Rivera denounced Stalin...
...tradition of the bodegon, or kitchen still life, the isolated object against a plain field, brought to its fullest intensity by Zurbaran and Sanchez Cotan in the early 17th century. Echoes of the bodegones continued in Spanish art for hundreds of years; they could still be seen in Picasso's cubist still lifes. But Lopez's skinned rabbit goes straight back to the source, taking in a vivid memory of Goya's still lifes along...