Word: temperament
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...around the end of World War II, his life fell apart. First, to his unassuageable grief, Krake died of cancer. Then he began to show the symptoms of tertiary syphilis. The last works that hold some spark of visual life are Johnson's religious subjects, such as the beautiful tempera drawing Ezekiel Saw the Wheel (circa 1942-43). After the war he began a series of paintings of Fighters for Freedom: political figures (Chiang Kai-shek, Churchill, Nehru and others) and icons of black history, such as Nat Turner hanged on a tree. They are mostly feeble, lacking the iconic...
...five times the purchasing power of ordinary rubles. (The Soviet state will get 32%, and Sotheby's the remaining 8%.) Two relative unknowns, Svetlana Kopystiansky and her husband Igor, were stunned as Pop Singer Elton John put in a winning bid of $75,000 by telephone for a tempera landscape by Svetlana and another bid of $75,000 for a portrait in oils by Igor...
Aladar Marberger's Manhattan apartment is a gallery of joy and pain, limned in oil, tempera, charcoal and fresco. In most of the likenesses, an insouciant, vibrant personality shines through, but in a few there is the kind of tension that results from great suffering. These are the portraits of an AIDS survivor, sketched and painted by Marberger's friends since it was confirmed , that he had the disease. They are a tribute to a man who will not quit. When Marberger learned in 1985 that he had Kaposi's sarcoma, a rare form of skin cancer that is sometimes...
...would be utterly fascinating with a greater artist -- a Manet, a Degas or even a Winslow Homer -- but that at Wyeth's level of achievement seems almost tiresome. The bulk of the show is pencil sketches and watercolors, grouped around a dozen or so finished images in drybrush and tempera. To study an artist's sketches is to go behind the scenes of his talent, to see how the mechanisms of his pictorial thought work; one sees each twist in the evolution of form and idea. But the interest of such a spectacle depends on the extent of the talent...
...sweeping bare stages with a significant prop or two, or else labyrinths of neo-Bayreuth gloom where spotlights jabbed accusatory fingers through banks of theatrical fog. This design orthodoxy, based on texture, shadow, "sublime" cavelike space, was a necessary reaction against older conventions of the painted background: the unenchanted tempera forest with every stale leaf in place. But it left out color, and the main reason for Hockney's success onstage was that he was able, with dazzling virtuosity and conviction, to put color back...