Word: woodcut
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ANTHONY BURGESS' latest novel is the modern literary equivalent of a grotesque medieval woodcut by Hans Holbein the Younger. In Holbein's macabre artistic world, people blithely conduct their lives as usual, while unseen the Grim Reaper, lurking in the shadows, waits to carry them off. Death is also the main character in Burgess' markedly disappointing effort: never mind that he presents Ronald Beard, an aging British screen writer, as his hero; it becomes quickly apparent Burgess' is more concerned with Death than with Beard...
Officials at Widener Library are trying to determine if the same art thieves who have plagued a number of Eastern colleges are responsible for the Winslow Homer woodcut prints missing from 19th century magazines in its collection...
Many of the German contributions, such as Heinrich Campendock's woodcut of a sinister fairy tale world, show the influence of a melancholy expressionism. Max Beckmann turns his acerbic melancholy on German society in "Wrestling Match:" a joyful orchestra accompanies two headlocked wrestlers in front of high society onlookers who hoot from gilded balconies or eat delicacies at tables bordering the fight. In a lighter vein, Franz Marc characteristically uses animal symbolism in his woodcut "Creation." Lighter still is Dadaist Kurt Schwitters' "Composition with Profile," a well-composed, child-like doodling...
Also of Interest: "Pablo Picasso--Printmaker" through December 8 at the Museum of Fine Arts (Arborway subway to Northeastern stop). An exhibition of books on Hans Holbein's sixteen-frame woodcut "The Dance of Death", through Sept. 30 at the Boston Athenaeum, 10 Beacon St. In Boston. Photographs by Dadaist Man Ray in the Jewett Arts Center at Wellesley College, Sept. 30-Nov. 3. And, for all you frustrated peeping toms, photographs by Ron Galella, who is currently making a fortune off his new book on Jackie Onassis, at the Boston Harbor Campus of UMass, through October...
...years before his death in 1965, Avery made his last woodcut. In it, for the first time, he acknowledges the end as well as the continuum of life. For "Birds and the Sea" includes something none of his other landscapes have--the boundary of a horizon line. It is a simple line--ruler straight, no special tone or twist to it. Anyone could draw a line like that. But Milton Avery never did before, and he startles and shocks us with its finality. It is a tribute to Avery's exquisite skill that the most basic element...