Word: squezes
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...sixth circle knew the eternal future and remembered the past but had no sense of their present horror. In the drama, they fulfill Goodman's ideals of stillness and deadly substance within a stagelike space that he derives from such of his idols as Masaccio, Velásquez and Rembrandt...
...gnarled, garishly colored portraits of his predecessor in agony, Vincent Van Gogh, after reproductions of the Dutch artist's long-lost The Artist on the Road to Tarascon. Most famous of his serial portraits are those of screaming pontiffs modeled after a papal commission by Velásquez (see opposite page). Though he has been through Rome, where Pope Innocent X's portrait hangs in the Palazzo Doria-Pamphili, Bacon has never gone to see it. The gum-baring shriek that gapes out of so many of his portraits is copied from a still from Sergei Eisenstein...
...names are there. Four familiar-looking Velásquez portraits add their placid luster to the candid Goyas and the anamorphic El Grecos. Glimpsed as a whole, the exhibition has an almost rotogravure quality in the predominant browns and blacks of the backgrounds, the dramatic lighting that seems to spotlight colorful details like the little nosegay on the staff of Ribera's Saint Joseph (opposite). Landscapes are notably missing: Spanish painters were mostly interested in painting people rather than scenery. But religious subjects, redolent of the mystery and aspiration that typified every Spaniard's day-by-day point...
...objet d'artful dodger (Rex Harrison) of the sort that stole Goya's Duke of Wellington from the National Gallery in London (TIME, Sept. 1). With the help of a dumb broad (Rita Hay worth) and a clever painterfeiter (Joseph Wiseman), Rex artnaps a Velásquez from a castle in Spain. But a sinister grandee (Grégoire Aslan) steals it back, and before long bodies are dropping almost as fast as bum mots ("I want so much to be a first-class crook for you, darling"). Rita, 42 when this picture was made...
Dwarfs & Princelings. In Madrid his colors gradually brightened, but the lyric realism remained. While Rubens, who spent nine months at the Spanish court, tried to puff up his noble and royal subjects by surrounding them with allegorical figures, Velásquez painted them exactly as they were. His figures stand out against subdued or neutral backgrounds, but whether dwarf or princeling or court jester, they are full-fledged individuals, painted without adornment and without malice...