Word: watercolored
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MUSEUM OF FINE ARTS. Boston's 100-year-old guardian of the arts. Tues, 10-9 Wed-Sun. 10-5. American Silver 1655-1825 opens Sept. 28. Gallery EE. French Watercolor Designs for Textiles 10th 19th C opens Sept. 29, Print Corridor Douglas Herbler Recent Work opens Oct 3 Contemporary Galleries...
...interior. His old apartment had contained a bed in the middle of the floor-and little else. The new main room held a billiard table -and nothing else. The ceilings concealed tiny spotlights to illuminate pictures on the walls. But there were no pictures on the walls. The Nolde watercolor, the Kokoschka drawing and the Gloria Vanderbilt paintings were stacked up somewhere, awaiting the decision that their owner could not make. The Wurlitzer jukebox was loaded with records but remained unplugged...
...through the explicitness of dance movement. Reminiscent of surreal landscapes--curvy, wriggling plants and fairy-tale, almost anthrophomorphic animals of prey--the scenes are washed over by pastel lights and costumes running together like dew dripping from blades of grass. The dancers paint a moving tableau, a soft flowing watercolor with occasional sharp lines that cut at the pastel mist recalling the surprise surreal of Rene Magrette's imagery, the playfulness of Paul Klee's animal compositions, and an accent of slithery, lurking evil. The opening scene contrasts the quiet curves and calm glow of a sun slowly appearing above...
...watercolor has two roots. One is in pen-and-wash drawing, the other in the more static and ceremonious art of miniature painting. The first item in the Morgan catalogue is a painting of an imaginary noble savage, A Young Daughter of the Picts, by Jacques Le Moyne de Morgues. Le Moyne, a French artist who worked in England in the 16th century, voyaged to Florida in the early 1560s. There he saw Indians-and concluded that there had to be a likeness between them and the lost tribes of primitive Britain. Hence the delicate Amazon, who might have stepped...
Nature Worship. Watercolor came fully into its own as a medium two centuries later-through nature rather than culture. The two great themes of English art in the 18th and 19th centuries were antiquity and landscape. Both necessitated some form of travel-either taking the road to Rome or making the shorter trip into the English countryside, with painting kit. Oil paint in tubes made Impressionism possible, but that sort of packaging did not exist in the 18th century. Lugging oils through the vales of Kent or the gorges of Switzerland was messy, and watercolor-carried dry, in little pans...