Word: surrealist
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Dates: during 1970-1979
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...fatal which makes me change addresses." The character of these years - a melancholic idyll of transience, conducted in a series of sirocco-damp villas across a classical landscape - is built into his early paintings. It was reinforced when, as an art student in Munich, he encountered the dreamlike, proto-surrealist canvases of the 19th century Swiss romantic Arnold Böcklin. By the time he settled in Turin in 1911, the meditative cast of his mind...
...attitudes are one thing, results another. Generally, the constructions are the flimsiest area of Wiley's art. His watercolors and oils are a different matter. The White Rhino Injured, 1966, is a marvel of surrealist compression: the unfortunate pachyderm's skin is reduced to several turns of gray, wrinkled hosepipe surrounding a block of white meat from which pink blood flows; it is a funky but hauntingly succinct image of vulnerability. "I'm a maze of information about reflections mirrored in opposites," begins the caption to his punningly titled Wizdumb Bridge, 1969, and the declaration fits...
...sensation of being watched by a three-eyed, large-footed smiling female form, whose physical balance is as precarious as the barbell forms floating and swinging around her. Done on a white background with black objects, the work recalls the Japanese brushpainting and calligraphy that influenced many of the surrealist artists. The seducing elements of Miro's works are the imaginative and playful gesturing that he performs on the canvas...
...will be growing as a result of a $10,000 matching grant from the National Endowment for the Arts to purchase photos by contemporary Americans. Hopefully, they will match the sum by July 31, 1972, to fill in some of the collection's gaps: there are no examples of surrealist works--collages, or photograms--nor are there many contemporary things...
...Self-Portrait, 1929 (38) is nothing less than a pictorial act of revenge: the savage, angular profile of Olga, with its chisel teeth and spike tongue about to devour the undistorted silhouette of Picasso's own profile. Its delirium is prolonged, in a different way, in the Surrealist beach scenes at Dinard, like Bather Playing with a Ball, 1932 (39), populated by elephantine, grotesque she-bathers who balloon on the sand or fiddle intrusively at the keyholes of locked beach huts...