Word: portraitists
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...tainted, planted, unfounded, retracted, distorted, misleading and plain nonexistent evidence. Throughout, we get too brief flashbulb glimpses of the real star of the show: Blumenthal's Clinton is a smart, extroverted, cardplayer, charismatic, 24/7 conversation junkie--but Blumenthal is much too loyal an ally to make a good portraitist...
...music. One of these is a Wood canvas, on sale for $95,000 at New York City's Pop International Gallery, which opened a showing of Wood's work last week. The other is a Manson original, on display at Los Angeles Contemporary Exhibitions. Wood considers himself primarily a portraitist: "I've drawn people when I'm sitting talking to them--God knows how many I've given away. I studied people like Durer, and I was heavily influenced by the Impressionists as well as Rembrandt," he says. Manson's show is titled "The Golden Age of Grotesque." "People...
Most of the Goyas that we rightly regard as his masterpieces were not seen by the public in the artist's lifetime. The Goya we know today is a rounded, far-reaching, almost encyclopedic painter, truly Shakespearean in his range; but the Goya Spaniards knew was largely a portraitist, and that is one of the most pressing reasons for the present show...
...Portraitist Alice Neel has said that "Art is not as stupid as human conversation," and, in the case of her paintings, she is right. The paintings now on display at the Addison Gallery of American Art in Andover, Mass. give visitors a more direct line of communication to Neel than speech can provide. The show is a sort of limited retrospective of the painter's work and a centennial celebration of her birth on Jan. 28, 1900. The Addison is the third host to the exhibit, put together by the Philadelphia Museum of Art's Ann Temkin...
...Addison show clearly chronicles Neel's evolution from a recent art-school grad (she attended the Philadelphia School of Design for Women), dealing with her rejection of academic training, to a confident, comfortable portraitist. Her earlier work is somewhat primitive in its calculated naivet. The tones are earthy and dark, and the way she renders her sitters varies. Some portraits give an impression of purposeful awkwardness, while others are just somehow off. Walking through the show, the figures become more colorful-blacks become blues, browns, yellows; purples appear-and the backgrounds behind them become simpler. The show does not skip...