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...most poetic. The blots, scribbles and stains of the paint-closely worked and yet oddly abstract, as if performed in a trance-are analogues to the liquidity of water itself. Paint "equals" water in much the same way as, in some Renaissance portraiture, the graininess of pigment "equals" the cellular structure of flesh...

Author: /time Magazine | Title: Art: A Slice of the River | 10/15/1973 | See Source »

...have come from) niello-work, a decorative technique used by goldsmiths and armorers since the Middle Ages. With his sharp cutting and scratching points, his burin and needle and burnisher, the artist scribed a design on a metal plate and filled its grooves with a black pigment which, when heated, solidified like enamel...

Author: /time Magazine | Title: Art: Graven Images | 8/27/1973 | See Source »

...Uffizi shortly before the flood. The water took off more than 75% of its paint surface and, the restorers found, would have stripped more had Cimabue not had the nails countersunk and covered with tiny wooden plugs. Exposed, they would have corroded, ruining more paint. Until 1969, the surviving pigment was too soft to touch; then it was painstakingly removed and cleaned. Soon it will be glued back on Cimabue's original panel...

Author: /time Magazine | Title: Art: Long After the Flood | 8/13/1973 | See Source »

...masters of photography like Nadar and Oscar Rejlander. In his 20s, Steichen's prints frankly imitated the "look" of paintings; a famous image of J.P. Morgan, glaring over his bottle nose out of the gloom, comes as near to Titian as photography can, and the gum-print and pigment-print portraits that Steichen made of himself and his friends, reworking the image with eraser and fingers, seem like deliberate homages to Whistler. The melting halftones, the silvery highlights and atmospheric blurs (he would spit on the lens, or kick the tripod as the shutter clicked) are a poetic reprise...

Author: /time Magazine | Title: Art: The Patriarch of the Family of Man | 4/9/1973 | See Source »

Koetsu and Sotatsu reacted against the hard, linear, brushpoint drawing derived from the Chinese that dominated Japanese art in the early 17th century; instead they used the mokkotsu or "boneless" technique, dropping pigment into wet pigment, staining and mottling the shapes of flowers, twigs and thunder-god with infinitely subtle gradations of color, preparing the paper with washes of gold or silver dust or with a snowy, glistening mixture of eggshell white and flakes of mica. These hallmarks-which must in their time have seemed very "Japanese," in elaborate contrast to the austerities of Chinese brush technique-helped form...

Author: /time Magazine | Title: Art: Spare Clarity | 10/30/1972 | See Source »

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