Word: raye
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Dates: during 1930-1939
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Inside the front door of Manhattan's Museum of Modern Art this week, oblong slabs of glass painted with black stripes revolved steadily under a six foot pair of red lips painted by Artist Man Ray. In other galleries throughout the building were a black felt head with a necklace of cinema film and zippers for eyes; a stuffed parrot on a hollow log containing a doll's leg; a teacup, plate and spoon covered entirely with fur; a picture painted on the back of a door from which dangled a dollar watch, a plaster crab...
...Chirico, who, besides his familiar studies of prancing horses and Roman columns, likes to paint surrealist views of long deserted streets in dream cities, adding to one work a startling note by carefully painting realistic tea biscuits on the end of a painted crate. There is Philadelphia-born Man Ray, who is not only an able painter but manages to imbue Rayograph pictures of bits of wire, corks and lumps of sugar with exactly the eerie quality that surrealists desire. Least concerned with sexual symbolism and one of the most commercially successful of surrealists is genteel, dapper Pierre Roy, whose...
...ray demonstrated, however, that the underpainting was probably in Copley's own bold style, but that the picture had subsequently been damaged and had been touched up by a later artist, who was not content to fill in the gaps, . . . but repainted the whole surface...
Similarly in another instance the X-ray shadowgraphs probed beneath the surface of a sentimental and flat painting of a "Madonna and Child" attributed to the 15th century Italian, Antonazzo Romano, and discovered underneath it a much more forceful painting. When an accurate copy has been made of the outer painting, or when a colour photograph has been taken, the Fogg technical staff plans to clean off the outer layers of paint and reveal the original and more important work...
...whole central portion of this picture was destroyed, and early in the 20th century restoration was undertaken by an able Italian artist, who entirely repainted the center portion, following other original works by Crivelli, and imitating the master's materials and technique very closely. Even with the X-ray it is hard to tell where Crivelli's work leaves off and the modern artist's begins, but by careful observation it can be seen that in addition to repainting the destroyed section, the modern artist also tampered with the undamaged portions...