Word: picassos
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...resources of current scholarship to bear on it while still leaving the viewer exhilarated by the beauty and intensity of the works. About four years in preparation, the exhibition is the cap of Rubin's career-one which, in recent years, produced MOMA's great shows of Picasso and late Cezanne. It involved close detective work in ferreting out not just the general kinds of tribal objects artists were looking at but, in many cases, the art itself; and its catalog, written by a strong team of art historians headed by Rubin and Kirk Varnedoe, is detailed...
From the 1880s onward, there was certainly no lack of African and Oceanic tribal art on public view. There was also plenty to be bought-though much of it, including some of the masks and figures that influenced Derain, Matisse and Picasso, was poor stuff made, even then, in Africa for the souvenir-and-curio market...
...perceptual reality as faithfully as possible. But the drift of fauvism and especially cubism was toward the conceptual: and here the idea of representing, say, a face as a flat plane with knoblike eyes and a cylindrical funnel of a mouth was infinitely suggestive. Certainly it was convenient for Picasso to rejig the human face in terms of bladelike noses and scarification lines, a I'Africaine. But cubism was not, as has naively been said in the past, "set off" by the "discovery" of tribal art; the perception of one reinforced the perception of the other. Sometimes the most...
...fully with modernism. He writes warmly about his youthful passion for the likes of Armstrong, Beiderbecke and Ellington, but charges that Bebop Saxophonist Charlie Parker destroyed it all with music that gave "the effect of drinking a quinine martini and having an enema simultaneously." Parker thus joins Pound and Picasso in Larkin's unholy trinity of decadent experimenters, and jazz's evolution becomes a capsule version of the "degeneration into private and subsidized absurdity" that he believes is overtaking all the arts. What has been lost, Larkin insists, is his conception of the right relation between artist...
...Nuit, was a sensation; a larger, franker version published in 1976, The Secret Paris of the 30's, was a U.S. bestseller. Brassaï's multiple talents included friendship, and in his volumes of portraits there are reminiscences of Bonnard, Giacometti, Henry Miller, Samuel Beckett and, especially, Picasso...