Word: rousseaus
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...sausages, and some of his portraits verge on the grotesque - the child in Boy on the Rocks (1895-97) resembles a stuffed toy perched uncomfortably on some small mountain peaks. Others appear overambitious failures, until you look further. The monumental Portrait of a Woman (1895) is one of several Rousseaus bought by Picasso. It might seem a clumsy copy of a commercial photograph, until you notice the woman's hand holding an upturned, withered branch, and beyond the balcony railings a bleak treeless landscape bisected by an empty road. His so-called portrait landscapes, says Morris, produced hybrids "full...
...high moments (two owned by Paris' Musee d'Orsay, War and The Snake Charmer; two by MOMA, The Sleeping Gypsy and The Dream; and one by a private collector, The Hungry Lion) must be weighed against a good deal of medium-rate work and potboiling. Enjoyment of the lesser Rousseaus is usually tinged with condescension, though at least they are not cute or kitschy, like the truckloads of pseudonaive painting that would sprout from Montmartre to Haiti after his death. They have their period charm; you have to love his dirigibles and Wright biplanes creakily copied from postcards. But most...
...greatest collection of Picassos before 1914, and the greatest collection of Matisses anywhere. Its Gauguin collection is by far the greatest in the world. In Cézannes, it is second among institutional collections only to the Barnes collection in Merion, Pa. And it has three first-rate Rousseaus. The Van Goghs are excellent. From the period of say 1885 to 1914, its pictures are magnificent. In the later period of art in France, it is unsurpassed...
...what William Saroyan, in a rather sniffy introduction, suspects is just the first of Georgie 's autobiographies. Though any future ones should have no trouble excelling So Help Me in literary merit, none can hope to outdo it for frankness and questionable taste. Jessel shoots the works, Rousseaus his wild oats, touts his triumphs, flaunts his flops, underscores his drinking, italicizes his debts, is sometimes hard to take, occasionally hard to resist, always human...
What Picassos, Rousseaus, Matisses will crown the next decade? None of the critics who choked down their giggles as they studied the pictures of potentially immortal Independents could very well say. There were too many queer ones, new ones, sad ones, naughty ones, for a measured judgment. There was, for instance, a picture by a Russian, one David Burliul, in which he visualized the vibrations of modern city life in what he defined as "radio style." Eitaro Ishigaki, a Japanese, drew a picture of a phantom on the point of being crushed by a thousand falling elevated trains...
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