Word: woodcuts
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Dates: during 1950-1959
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...either aspect, however, the artist nearly always proves himself master of his media. He imparts to his line the freedom one would expect of an ink drawing, while still retaining that rugged quality essential to a woodcut. His style, usually a decorative realism, varies with the mood and subject matter; but in almost every print Amen succeeds in evoking his desired effect, whether it be that of power or of mere cuteness...
Baskin is represented with only one print, a powerful woodcut entitled Death of a Laureate. A hideous, paunchy Caesar seems to gore himself with his own hand. The intricate details that contrast so effectively with the forceful large areas of pure black testify once more to the skill of this master craftsman of American art. More of his work should have been exhibited...
Munakata does not always maintain the virtuoso standards of this religious series. Lapses occur when he adds colored ink to the black and white woodcut. Munakata, it seems, is not in any way as gifted a colorist as he is a draftsman. His heavy, almost garish, coloring emphasizes how far he has turned from the nice distinctions of tone and shade in eighteenth and nineteenth century Japanese prints. This very simple style, more Western than Oriental, mainly produces naive results; the childish, pseudo-folk art atmosphere of Stones in Water and Hawk Woman is most disturbing. However, the best color...
...wrote a French stockbroker named Paul Gauguin, who left his wife and secure career and went in search of the very place of love. He found it with the Maoris of Tahiti, and many of his pictures, such as the woodcut opposite, attest the artistic success of his quest. But it was a therapeutic disaster to himself; he died in the islands, of syphilis, malnutrition and a failing heart. Last week some 200 of his works, including 75 of his prints, went on show at the Art Institute of Chicago. The exhibition, which will move to Manhattan's Metropolitan...
...main reason why no one should miss The Seventh Seal is that it is a masterfully constructed piece of cinematic art. The cast performs with high distinction; lighting, costumes, sets, and make-up evoke the late Middle Ages with the authenticity of a Durer woodcut; and the entry of the flagellants is surely one of the most appalling scenes ever filmed. But Bergman's Gothic allegory will also trouble audiences philosophically, for it retains its symbolic ambiguity to the end and will not permit a facile interpretation or glib dismissal of any sort. For the Eliot House Anglicans...