Word: wood
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...simmering sauce of endives, smoked pancetta and double cream fills the wood-beamed Venetian kitchen with its aroma. Bits of baby lamb are soaking up the flavor of juniper berries and white wine. Strings of homemade tonnarelli are drying nearby. Standing over her restaurant-size range, Marcella Hazan looks with mock astonishment at six blushing students. "You don't cook? What do you do? Starve?" It is her standard line when Americans complain that they don't have time to prepare real meals. "I despair," she says, waving a sauce-laden wooden spoon...
...concrete scattered throughout your blue book will have you up for sainthood. Or at least Dean's List. Name at least the titles of every other book Hume wrote; don't just say Medieval cathedrals, name nine. Think up a few specific examples of "contemporary decadence," like Natalie Wood. If you can't come up with titles, try a few sharp metaphors of your own; they at least have the solid clinks of pseudofacts...
...nostalgia and a market boom bring most things back eventually. In 1983 the Whitney Museum of American Art revived Benton's old co-regionalist, Grant Wood, with a retrospective. Six years later, it is Benton's turn, with a show of some 90 works at the Nelson-Atkins Museum of Art in Kansas City. Curated by the museum's Henry Adams, who wrote the well-researched and highly readable accompanying biography, Thomas Hart Benton: An American Original, it will run until June 18, then travel to Detroit, New York and Los Angeles through July...
...artists who embodied it best were Benton, Wood and John Steuart Curry. They hardly knew one another. But it happened that Henry Luce was looking for a patriotic circulation builder for the Christmas 1934 issue of TIME. Walker was duly interviewed, Benton's self-portrait went on the cover, and American regionalism was born. "A play was written and a stage erected for us," Benton would later remark. "Grant Wood became the typical Iowa small towner, John Curry the typical Kansas farmer, and I just an Ozark hillbilly. We accepted our roles...
...supposed to be the expression of American democracy, was in its pictorial essence the kissing cousin of official Soviet art in the '30s. If socialist realism meant sanitized images , of collective rural production, new tractors, bonny children and muscular workers, so did the capitalist realism proposed by Benton and Wood. Both were arts of idealization and propaganda. In aesthetic terms, little that Benton painted for the next 40 years would have seemed altogether out of place on the ceilings of the Moscow subway. Apart from this, the whole matter of Benton's racism is still...