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There are two kinds of painting in it: straight and plate. The straight paintings-pigment on canvas-are the weaker and look like nth-generation abstract expressionism, which, in fact, they are. Their grid and curlicues come out of Matisse via Richard Diebenkorn, suffering indignities in translation: the drawing is sloppy, the color mud. There are also some steals from Robert Motherwell, in the form of maps of Europe with overpainting. Such work is homage rendered as cliché; but then Schnabel's reputation rests more on his plate paintings, layer on layer of broken crockery combined with things...

Author: /time Magazine | Title: Art: Expressionist Bric-a-Brac | 11/1/1982 | See Source »

...group of Dutch researchers, who scientifically analyzed the paintings' pigment, said Rembrandt's self-portrait and "Portrait of Man" may be among 44 paintings incorrectly attributed to Rembrandt...

Author: NO WRITER ATTRIBUTED | Title: Keeping Track... | 10/30/1982 | See Source »

...tuned" by dispersed accumulations of detail (a cluster of rocks, a flurry of waves, a knot of seaweed, a post or two) had everything to do with the compositional procedures of color-field painting in the '60s. So did his liking for dilute, discreetly modulated washes of pure pigment that stained the canvas rather than...

Author: /time Magazine | Title: Art: Milton Avery's Rich Fabric of Color | 9/27/1982 | See Source »

Timberland's assault started last year, with an advertising campaign under the headline THE BOAT SHOE THAT'S ABOUT TO BLOW SPERRY TOPSIDER OUT OF THE WATER. The full-page ads claimed that the Sperry shoe had a "painted on" pigment that dries and cracks, was often machine made, used painted metal eyelets that chip, and had a less durable sole...

Author: /time Magazine | Title: No-Skid Scuffle | 8/23/1982 | See Source »

...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 with that went the "theological" view of Pollock as an ideal abstractionist obsessed by flatness, which ignored the fact that there were only four years of his life (1947-51) when...

Author: /time Magazine | Title: Art: An American Legend in Paris | 2/1/1982 | See Source »

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