Word: renoirs
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...market has been afflicted with a kind of collective hysteria, a St. Vitus's dance of zeros across the checkbook: $5,544,000 for a Velasquez; a Titian, The Death of Actaeon, sold to Paul Getty for a little over $4,000,000; last week a Renoir, purchased for $16.80 a century ago, fetched $1,159,200 at a London auction. The list could be prolonged almost indefinitely, and will be: before the '70s are out, the first $10 million painting will probably have gone under the hammer. It does not take a very puritanical conscience to deduce...
...painted scenes on as many of these cardboard backs as he could get his hands on, and mounted them on the outside walls of his house. In his artistic development, Darling went through a fairly long Cezanne period and had an affair with early Grandma Moses. In his short Renoir stage, he managed to get the soft wispy effect in his tree leaves by dabbing on latex paint with an ordinary shaving brush. When he was under the Turner influence, he found he could create raging waves by running a dry thumb across Sherwin-Williams Aqua...
...most part, however, Alan Arkin's first job of direction is marked by the conscientiousness and compassion that he has shown throughout his acting career. Arkin has stated that the films which he most admires are Renoir's Grande Illusion and Regle de Jeu; the latter film has obviously instructed him more than any American comedy could in the use of setting to explain character, and the need to root a danse macabre in thematic and dramatic progressions. Like the early Renoir, he is very much an actor's director, using his characters' figures and reactions to make comic points...
...break out of this Hollywood-derived rigor, most apparent in French Can Can, Renoir tried in the sixties to free actors again from the false god of the camera. Le Dejeuner sur I'Herbe (1959) is an experiment in theatrical anarchy; completely anti-naturalistic, it throws together absolutely irreconcilable acting styles with frightening abandon. The more naturalistic masterpiece The Testament of Dr. Cordelier (1960) was shot from several angles at once so that each scene could be played integrally, not broken down shot by shot. Paradoxically, this shooting method gave the cutter more control than ever over the action...
...appear that the unification of Renoir's work is primarily thematic and dramatic, not specifically cinematic. While this is true, it does not prevent his films from attaining that formal consistency traditionally characteristic of the greatest art. Renoir's films are visually so well-designed that a description of the style of each particular film constitutes a description of its particular meaning. What more can a formalist...