Word: uccello
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...Taming of the Shrew, starring the Burtons, Zeffirelli dazzles the eye with a virtuoso use of color. His camera is a Renaissance palette. Courtiers stride by in the muted gold and crimsons of Piero della Francesca; cobblestones and horsemen diminish into the serene infinities of Uccello. Visually, Shakespeare has never been better realized-and seldom has he had so sensitive a collaborator...
...well as art. And Bondarchuk makes the most of his forces. Cavalries plunge and break in tidal waves; columns of infantry writhe to the horizon and beyond; choruses of cannons shout like narrow mouths of hell in a series of vivid instants that recall the trancelike battle paintings of Uccello. With a knowing artist's eye, the director composes vignettes reminiscent of the harshness and heartbreak of Goya etchings. Again and again, the dolor and grandeur of Russia's convulsive struggle with Napoleon provide a panorama truly worthy of Tolstoy, a writer who did not believe in leaving...
...only limitation that I see in it." says Thomas Wilfred, now 78, "is that those who try it just don't have the vision to use it." As far as M.I.T.'s Gyorgy Kepes is concerned, the problem is largely one of newness: "Renaissance artists like Uccello and even Leonardo were as much interested in discovery as in the poetry of the discovery. There was a joy in the discovery and a joy in that...
...silver point* miniature drawing of an elephant and a mouse by an anonymous artist to works of the Goyaesque Felice Giani, who died in Rome in 1823 after an artistic career that included decorating the apartments in the Tuileries for Josephine Bonaparte. In scope, the collection runs from Paolo Uccello's geometric sketch of the 32 surfaces of the mazzocchio, a circular wicker framework used by Florentines as a base for their characteristic cloth headpieces, to an intricately executed sketch by Artist-Author Giorgio Vasari (Lives of the Most Excellent Painters, Sculptors and Architects) of a battle scene...
Most Poetic. The outstanding painting in Afro's current exhibition is his 5-ft.-by-6½-ft. L'Uccello del Tuono (Thunder-bird). The title did not come to Afro until after four months of work on the canvas, when, he says. "I saw something flying, something thundering. I thought of flying, of a witch; then I realized it was a kind of bird." Afro depends on his memory to service him with poetic imagery, finds that not only themes but colors seep in from his surroundings (the grey-green of Serene Stone comes from Florentine tombstone...