Word: picassos
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...superb. But the coverage of Australian and (more surprisingly) Northwest American Indian art is sketchy. This may be because the roots of Rockefeller's own taste were set in the culture of European modernism-in the admiration for the primitive that formed the experimental work of Picasso, Braque, Matisse, Brancusi...
...with their European responses, at this late date, is to enter a strange chamber of mirrors: we now tend to see African art in terms of cubism; one musical instrument in a glass case at the Met, a Zaire harp, is quite simply a cubist guitar plucked out of Picasso's paint of 1915 and materialized in three dimensions. Primitivism owes its prestige, in the West, to modernism...
...canon of intensity for generations to come. The sad fact seems to be that no younger American artist, in the 25 years since his death, has quite got past Pollock's achievement. His work was mined and sifted by later artists as though he were a lesser Picasso; seen through this or that critical filter, it could mean almost anything. The basic données of color-field abstraction, which treated the canvas like an enormous watercolor dyed with mat pigment, were deduced by Frankenthaler, Morris and Noland from the soakings and spatterings of Pollock's work. Along...
These were woven around a sense of his own modernity as an American living in the mid-20th century, the heir but not the colonized admirer of Picasso and Miró. It seems now that Pollock was eager to wind so many elements together in his work, not out of some empty eclecticism (which is what our "expressionists" give us today) but in the belief that cultural synthesis might redeem us all. How can one follow this show, from its first choked and turbulent exercises, through the grapplings with chosen masters (Picasso, Masson, Miró, Orozco) in the "totemic...
...buttock or a breast, the petals of a flower rising on its stalk, or-in some of the drawings-the black propped lid of a grand piano. The body image is confirmed particularly in a work like Untitled #45, which is haunted by the swollen, vegetative forms of 1930s Picasso, rather than 1914 Matisse. Of course, the drawings also seem more intimate than the previous Ocean Parks simply because they are drawings-smaller and more provisional, the receptacles of experiment...