Word: watercolor
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...humorous, watercolor-washed humanism of Jean-Michel Folon, best known from posters and magazines, is accorded a museum retrospective at New York City's Metropolitan...
Stone. Bronze. Oil on canvas. This is the durable stuff that heavy-duty art history is made of. For more than three decades, however, Jean-Michel Folon has taken on serious, humanistic themes with no more than delicate whispers of watercolor on paper. His skill and inventiveness have made him one of the world's best-known commercial artists. Now, in a career-spanning survey on view at New York City's Metropolitan Museum of Art through June 3, Folon is coming in for the sort of institutional scrutiny rarely afforded an artist whose work is better known from posters...
...Folon's watercolor-washed world features serpentine arrows, pedestrian- dwarfing buildings and blank-faced men, as well as rainbows, birds and boats. In The Silence, 1974, he makes the enigmatic figure of a sphinx his own. The mythical creature, at rest in a blazing desert landscape, raises one blue finger to its lips to demand tranquillity with an inaudible "Shhh!" The etching titled New York Times, 1974, shows square-headed city folk blown about by the wind as they clutch copies of their favorite paper. Other images add a message to the mirth. The Feast, 1983, packs a chilling political...
...rage, is largely missing in Rowlandson, and his interest in art theory is entirely absent. The biggest difference of all was that Rowlandson had none of Hogarth's ambition for major categories of art, not just history painting, but oil painting itself. He was perfectly content with pen and watercolor. But his mastery of them was complete, and it shows everywhere: in the supple energy of his line, in the feathery offhand signs for foliage and clouds, in the unerring grasp of tone that enabled him to particularize those dense, rowdy friezes of people so coherently against the pale buildings...
...year-old Frankenthaler painted it after a trip to Nova Scotia, whose coast is plainly visible in it: the pine-forested mountains and humpy boulders, the dramatic horizontal blue. It was made flat on the floor, like a Pollock, and records the influence of Cezanne's watercolors, as well as abstract expressionist painters whom Frankenthaler had studied -- in particular, Arshile Gorky, whose looping organic line is reflected in her sketchy charcoal underdrawing. For all its size, it is an agreeably spontaneous image (and was painted in one day), pale and subtle, with a surprising snap to its trails and vaporous...