Word: rouaults
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...increasing importance of art reproductions, he published prints by his favorite artists in a steady stream of books and portfolios. Last week Washington's National Gallery was celebrating his taste and foresight with a show of fine Vollard prints ranging from Renoir through Cézanne to Rouault and Picasso...
...Matisse is at work finishing his designs for a Dominican chapel in the Provençal village of Vence. Not too far away, at Assy in the French Alps, Père Couturier has made the art of Moderns Fernand Léger, Jean Lurçat and Georges Rouault shine clean and fresh in the new mountain church (TIME, June...
...Georges Rouault's Nude had been done with just a few swirls of a heavily loaded ink brush. Her head was heavy and rough as rock, her breasts were like sheep's eyes, her puny thighs terminated in doughnut knees. But the picture's very crudeness gave it drama. Backed into a dark corner, the body was startlingly white. At first glance the brush work might seem clumsy as a calligraph drawn in a Chinese kindergarten, but it made space of the flat paper, and crammed it with fat, interlocked sausages of light...
...Henri Matisse's charcoal Seated Nude in a chair was a smudgy, uncertain study with none of Rouault's power. The viewer could barely tell the flesh from the upholstery, and the girl looked as impersonal as a pillow. But all that had been part of the artist's intention. By smudging out instead of neatly erasing his first hesitant strokes, he gave the picture a hot-off-the-easel look that it would otherwise have lacked. By sticking to foggy greys and muffling the girl's personality in the armchair's embrace, he reduced...
...them were conservative and many were dull, although the exhibition did include a few standout pictures that proved how "understandable" religious art can be without sacrificing freedom or strength of expression. Among them were a powerful close-up of Christ on the cross, drawn by aging French Modern Georges Rouault, and an industrial-age view of Jesus in the Street, by a little-known Italian painter named Francesco Perotti. But the chilly traditionalism of the exhibition as a whole showed that the Rome conference had been long overdue...