Word: tonalities
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...pipestem to pull them back to reality. As he moved forward, he found in collage a way of linking cubism back to the world. Collage, which simply means gluing, brought fragments of modern life?newspaper headlines, printed labels?directly into the painting. Cut them out, put them in. The tonal values of some of his finest collages have been ruined by age. The newsprint, once gray on white, is now cigar-brown. But in better preserved ones, like Violin and Sheet Music, 1912, the original effect remains: a magnificently Apollonian interplay of blue, gray, white and black on its ocher...
...Beethoven, his musicianship-his pitch, timing and ear for balances and shadings-has always been impeccable. Having inherited a great ensemble from Stokowski, he made it greater. He has hired virtually all of the orchestra's 106 members and molded them into a unit renowned for its tonal sheen and bravura. As he has said: "The Philadelphia sound...
...instead of trying like Gauguin or Van Gogh to push beyond it. They are represented too, to the confusion of the term: if post-impressionism means not only Van Gogh's Arlesian canvases, in all their lambent color and twisting, linear energies, but also the eclectic products of a tonal impressionist like Jules Bastien-Lepage, with his soulful peasant girls in burlap, what can it mean? To what imaginable modernist context do the many style rétro canvases in this show belong?Giovanni Boldini's portrait of Mme. Max, for instance, or Albert Maignan's Passage of Fortune, 1895, with...
...tradition with its small scale, ambiguities of space and geometric calibration. What he wanted, and had found by 1947, was a much simpler, grander and more declarative kind of structure: opaque, ragged planes of color rearing up the surface, emphatic in their brush-work-none of the characteristic cubist tonal flicker-and engulfing in their sheer size. If cubism was the art of hypothesis, Still would contradict it with an art of crushing visual fact. In doing so he hoped to make a clean leap out of modernist history into images "not proven by a continuum," as he wrote...
...interesting. The early ones are of ravishing delicacy; they have a subtlety of discrimination, a continuity of surface tone that are essentially lyric. But by middle age, Adams' work began to shift. In the darkroom, he was conducting from the negative's score?pushing the image to its tonal limit, infusing it with a Wagnerian moodiness. The late prints are public declamations, cast in an epic mode. To Adams, change is simply a matter of knowing more. The later the print, in his eyes, the better. "I like my prints full of beans now," he says. "I guess...