Word: watercolor
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...feel it particularly in Cezanne's series of landscapes of his "sacred mountain," Mont Sainte-Victoire. Now it is a mere shimmer of profile in a watercolor, whose blank paper becomes the white light of the Midi, burning through the pale flecks of color. Elsewhere, in the late oils, it achieves a tremendous faceted density, that crouched lion of rock. In between there are lyrical tributes to it, as in Mont Sainte-Victoire Seen from Bellevue, 1882-85, where it appears almost shyly on the left of a tender, early springtime landscape, all new green, traversed by an aqueduct (sign...
...missteps are on display at the exhibit as well. While billed as "explorations of form, color, shape and mass," his paintings and small assemblages convey little original thought. "Relief with Bones" is a particular disaster-- constructed of chicken bones, a shoebox lid, and canvas, this mess of gouache and watercolor artlessly melds the elemental primitivism of Jean DuBuffet with the cool detachment of pop artists. Although occasionally suggesting the powerful brushwork of a Kline, Smith's other paintings pale in comparison with the power of his sculpture...
...announcing itself in his watercolor drawing of a Jewish bride in Tangier, whose costume, in all its fantastic profusion of embroidery, overlays and gold jewelry, is suggested in a few washes of pink, vermilion, blue and yellow. He developed it to full pitch in the oil paintings he did later in his Paris studio. It would lead to the packed density of pattern-on-pattern in Women of Algiers (1834) and receive its homages from both Matisse and Picasso...
Spanning about 70 years, Farndon's career saw the compilation of a fairly large corpus of work. He won numerous prizes for both oil and watercolor (mostly for his oils) and made the transition between four or five fairly distinct styles with varying degrees of success. Presumably early influences (Farndon eccentrically refused to date a single canvas) can be found in the late Romantics, as evidenced in some uneventful and rather unexciting landscapes which ended up relegated to the basement of Vose galleries...
Cohn chose to limit her study of black to prints because she believes the intensity of "blackness" in a carbon or intaglio print is substantially different from the more fragile writing inks and watercolor pigments. Also because prints are made from a single layer of black and tend to form an opaque, continuous surface, they project a constancy and immutability not found in drawing or painting...