Word: tanguy
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...height of imitative flattery with his pastiches of the older painter's massive "classical" women in white fluted dresses. Likewise, when Dali the Surrealist was pupating, there was hardly a trope in his pictures of 1927-28 that didn't come out of Andre Masson, Ernst, Miro or Yves Tanguy...
...great convalescents: Cavafy, Leopardi, Proust. The city was his sanatorium and, as a fabricator of images that spoke of frustration, tension and ritualized memory, he had no equal. No wonder the surrealists adored his early work and adopted its strategies wholesale. The "illusionist" painters among them, Dali, Ernst, Tanguy and Magritte, all came out of early De Chirico, a lineage astutely discussed by Laura Rosenstock in the catalogue; and as another contributor, Wieland Schmied, points out, German painters in the '20s like George Grosz used Chirican motifs to express their vision of an estranged urban world in social dislocation...
...body of work that set him firmly among the masters of European modernism. His "mysterious objects," moonstruck piazzas and tilting, empty colonnades fascinated the Surrealists and became one of the inspirations of their movement. René Magritte and Salvador Dali were both De Chirico's debtors; Yves Tanguy resolved to be a painter only after seeing an early De Chirico in a dealer's window in 1923. André Breton, the pope of Surrealism, hailed him as one of the "fixed points" of the new sensibility. But then De Chirico's own aims switched, and the admiration...
...surrealists agreed that the time had come to substitute the logic of the unconscious for the deliberate illogic of Dada, but only half of the movement, including Dali, René Magritte and Yves Tanguy, used conventional Renaissance oil techniques and perspective to portray the fantasy world of dreams and hallucination. Helped by Dali's genius for self-publicity, it was this half of the movement that became synonymous with surrealism...
Hartford never finds time, in his condemnation of Picasso, to mention the artist's surrealistic paintings. Hartford likes surrealism. He thinks Salvador Dali is the greatest painter of contemporary times. He even forgives the surrealist painter, Tanguy, for not painting recognizable objects, because Tanguy's paintings are so meticulously three-dimensional. But what does Hartford think of Picasso's surrealism? How does he resolve the combination of his pet ogre of the twentieth century with his pet movement of the twentieth century? He shouldn't keep the answer to himself...