Word: watercolor
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Dates: during 1970-1979
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...cast of Frederic Remington's bronze Coming Through the Rye-a typical example of the vulgar, illustrative fist that Remington, artist laureate to the Wild West, brought to everything he touched-became the most expensive American sculpture in history, at $125,000. The previous record for an American watercolor ($36,000 for an Edward Hopper in 1970) was broken three times-by another Hopper, Light at Two Lights, at $50,000; a Winslow Homer, Adirondack Catch, at $37,500; and Charles Burchfield's Black Iron, which brought $65,000. That same week, another and very fine Homer-Gallows...
...existence of a medium, after all, is its absolute if, as an many seem to think. It needs one: and all comparison of potentialities is useless and irrelevant. Whether a watercolor is inferior to as oil, or whether a drawing, an etching or a photograph is not as important as either is inconsequent. To have to despite something in order to respect something is a sign of importance. Let us rather accept joyously and with gratitude everything through which the spirit of man seeks to an ever fuller and more intense self-realization...
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...