Word: woodcuts
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Dates: during 1970-1979
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...first category of object whose market was utterly changed by this was the original print-etching, woodcut or lithograph, a strictly limited edition of an image made, supervised and signed by an artist. Some original prints became almost as costly as master paintings. But prints were not reproductions. Photos or postcards could not satisfy the thirst for status. They were not exclusive; they were, in fact, genuinely democratic. Anyone could pin a postcard of a Rembrandt on the wall, for pennies. Hence the invention of another class of object, a chimera begotten by greed upon insecurity: the expensive reproduction...
...publication will contain several original and translated poems, short stories, book reviews and essays on topics including Japanese investment in the U.S., Chinese intellectual history in the 17th century, Oriental woodcut art and the role of women and the family in modern Japan, Andrew D. Gordon '74, a third-year graduate student and chairman of the colloquium, said yesterday...
...alive then-and no European of comparable genius-considered his life in quite this way. Blake, who never thought he was a dreamer, meant everything he painted to have the instructive force of revelation. Each drawing and poem-whether small and limpid, like the Songs of Innocence or his woodcut illustrations to Thornton's Virgil, or epically obscure, like the cantos of The Four Zoas or the grand designs of Jerusalem-was imagined as part of a metaphysical system, a means of explaining the history and nature of the world in terms of the fall and redemption...
...projected an image of invincible roughness and solidity. In fact, his greatest paintings were rarely the work of a simple realist. For example, The Meeting, 1854, showing Courbet's encounter with his patron Alfred Bruyas and a manservant on the road near Montpellier, was based on a woodcut of two bourgeois meeting the Wandering Jew; but its poses (oddly ritualized for a "realist" work) may carry an esoteric reference to Masonry. Nevertheless, Courbet seemed a monster of high animal spirits, rooting like a boar for sustenance in the gray rocks of his native Ornans-a man of the people...
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...