Word: picassos
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...have outlived all one's enemies and most of one's friends; by now his reputation can hardly be diminished, which may be why the Whitney Museum has had no choice but to enlarge it a little more. If de Kooning is not quite an American Picasso, at least he has been in every art history book, and in the mind of every artist, for the past 30 years. His career started late-he did not even have a one-man show until he was 43-but it proved durable. So although the exhibition of more than...
Vreeland's higgledy-piggledy does have the effect of a kaleidoscope. One sees the arrival of the mini, the pantsuit for day and the androgynous "smoking" for night, boots, turtlenecks, sporty furs. Picasso keeps reappearing, usually in witty design quotations. So do plaids; in 1979, Saint Laurent's heart went deep into the Scottish Highlands, and he made a formidable, fanciful rig. Except for his Mondrian motif, Saint Laurent was not comfortable with minis; the late '60s belonged to André Courrèges. In fact, despite the influence of specific designs, Saint Laurent has not always...
...subsequent designs, Hockney used diverse sources, balancing eclecticism against hedonism: Tiepolo's punchinello figures and Picasso's own designs for Satie's Parade; the paintings of Dufy and Matisse for the imaginary seaside town of Zanzibar in Poulenc's Les Mamelles de Tirésias; Matisse again for the blazing and mysterious red-and-blue moonlit garden in Ravel's L 'Enfant et les Sortilèges; Chinese vase painting for Stravinsky's Le Rossignol...
...Pollock's work, seems to have been so jealous of Krasner's place in his life that she refused to acknowledge her as an artist. And a poll in the Cedar Bar or any other watering place of the New York avant-garde would simply have echoed Picasso's dictum that women were always "goddesses or door mats," never painters. Add to this Krasner's prickly contempt for diplomacy with critics, and one can see why for most of her life her work was scanted as "minor," an appendage to Pollock's. Yet though...
...combine Picassoan drawing, gestural and probing, with Matissean color. There are direct homages to Matisse in the show, like the lacy cut-paper silhouettes of Blue and Black, 1951-53; and the Picassoan body surfaces too, a fleshy phantom, as in Visitation, 1957-73, an allusion, it seems, to Picasso's Girl Before a Mirror...