Word: pigmentation
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Dates: during 1970-1979
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...recent triptychs and other paintings, his ambition to reinstate the human figure as a primary subject of art has been to some degree fulfilled. No other living artist can paint flesh at this pitch of intensity, in this extremity of rage, loss and voluptuousness, or with this command over pigment. His typical setting is familiar: an anonymous oval room. It has tubular furniture, somewhere between a Corbusier couch and an operating table. Sometimes a bare bulb hangs down on its cord from the ceiling. It looks both sadistic and as ideal (almost) as Piero della Francesca's suspended...
...persistently harassed and delighted art's public in New York. They were all conducted under Rauschenberg's slogan, derived from futurism and Dada, about "working in the gap between art and life." Out of street rubbish, dead birds and old newspapers and gaudy lathers of pigment, he put together the "combine paintings" that, so much later, remain his best-known works. How outrageous, how iniquitous that tire-girdled Angora goat looked in 1959! What perversity seemed to lurk behind Rauschenberg's gesture of erasing a drawing by Willem de Kooning and exhibiting the sheet! How dandyist...
This obsession led to an undeniable grandeur. An early composition like Still-Life: Bottles and Knife testifies to that. Tuned down to the subtlest inter play of gray over gray, unified by the stippled crust of Gris's opaque and polished pigment, these simple objects acquire the amplitude and severity of a Romanesque nave, and one realizes that when Gris used the word "architecture," he was not using a metaphor: the slanting displacement of the still life, as though seen through rolled glass, suggests a kind of response to structural loading-slippage, compression, shear. What Gris's work...
...with scrupulous, not to say stolid exactitude: it is a real room looking on a real sea in (one imagines) some provincial resort on the Belgian coast. But what is that boulder doing there with every pore and crack of its surface emulated in Magritte's slow, gray pigment to remind us of its equal reality? It is intolerable: no metaphor provides an exit, no rational explanation will do, while the very technique of Magritte's drawing and painting keeps denying the presence of fantasy...
...economic sector buys and sells from every other major sector. Using the chart, they can, for example, calculate how much a decision to slow the building of barracks will reduce the sales not only of the paint industry but also of the chemical firms from which it gets its pigment. Also, planners can decide what changes in the tax structure might increase employment in the shipping industry or promote the construction of boxcars. Explains Leontief in his high-pitched, heavily accented English: "When you make bread, you need eggs, flour and milk. And if you want more bread, first...