Word: rã
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Scared of himself and his disease, now thought to be a type of epilepsy, van Gogh placed himself in a mental institution in St.-R??½my. The last room of the exhibit, treating the last year of the artist's life, is flurried and rushed, and once again painted in somber blue. Even the text on the wall reads like a timeline - first St.-R??½my, then Auvers and Dr. Gachet, then suicide with a shot in the chest...
...R??½my was an important time in the artist's life - the Van Gogh Museum devotes almost half a gallery to van Gogh's work there, mostly paintings of the countryside in deep purples and dark greens. Images of death resonate in his depictions of reapers and harvests. While the intention of Face to Face is to focus on the portrait, one of his two final self-portraits is lost in the room's attempt to embrace a very intense period. This self-portrait caused van Gogh to allude to his own death, describing himself...
Despite that polished performance, Ferraro has drawbacks. Her lack of national experience, especially in foreign policy, offers a target to Republicans, who will contrast it with the impressive r??sumé of Vice President George Bush. Ferraro's supporters retort that the foreign policy credentials of such Republican choices as William Miller in 1964 and Spiro Agnew in 1968 were next to invisible...
...Pictures are made the way the prince gets children," Picasso remarked a little later, "with the shepherdess." In Marie-Thér??se, he found a shepherdess?a placid, ill-educated and wholly compliant blond, who had never heard of him or his work, and offered nothing that even Picasso's egotism could interpret as competition. She became an oasis of sexual comfort. His images of Marie-Thér??se reading, sleeping, contemplating her face in a mirror or posing (in the Vollard suite of etchings) for the Mediterranean artist-god, Picasso himself, have an extraordinarily inward quality, vegetative and abandoned...
...metamorphic sculptures of Marie-Thér??se from the early '30s, involutes of swollen dreaming bronze in which cheek is conflated with buttock, mouth with vagina, have a wonderful tenderness and power as plastic surfaces. Even the plumpness of the bronze cast provides the suggestion of skin, while the slightly fuzzy texture of the metal further equivocates, not with the look, but with the feel of flesh. In some ways, the shapes of Marie-Thér??se, smooth and closed, are like the totemic bone forms of Picasso's grotesque anatomies of the '30s, the projects for immense figure-based...