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...woman's naked body than his Bathsheba with King David's Letter (1654). At root it is a Titianesque conception, heir to those sumptuous Venetian nudes; but Rembrandt avoids idealism, suffuses the real imperfect body with thought and a sense of moral reflection, re-creates the structure of flesh in terms of an amazing directness of "rough" brush marks. We think of paintings like this or the later Kenwood Self-Portrait (circa 1665), with its sketchy construction (arcs in the background, a near Cubist flurry of angular brush marks to indicate palette and brushes), as being a long way from...

Author: /time Magazine | Title: Art: Really Rembrandt? | 5/25/1992 | See Source »

...park outside, a courtroom guard smokes. His girth betrays a career of inactivity; his eyes, nose, and mouth are adrift in an ocean of flesh. He says, "In that building, there are no secrets. If some judge is balling the secretary, everyone knows...

Author: By William H. Bachman, | Title: CRIMINAL BUSINESS | 5/15/1992 | See Source »

Altman has assembled a dream cast to flesh out his ironic panoply. Besides Tim Robbins, the movie is blessed with the presence of Greta Scacchi, Fred Ward, Whoopi Goldberg, Peter Gallagher, Richard E. Grant (in a hilarious virtuoso turn as a writer) and Lyle Lovett (in his film debut...

Author: By Joel Villasenor-ruiz, | Title: Dicing Up Hollywood With Robert Altman | 4/23/1992 | See Source »

...that is an old-fashioned tale of Love and Loss. There may even be an element of progression here, moving from the beatific harmony of the opening scene to the chaotic disintegration and orgiastic simulated sex and the final tangled mass of exhausted, motionless flesh...

Author: By Ashwini Sukthankar, | Title: Jet Bludgeons Senses, Convention With Meaningless Pretension: | 4/23/1992 | See Source »

Whether one peruses Matisse, the master reductionist, who uses plain black brush strokes to sketch a woman's face in "Tete,"--or Dufy, who uses a charcoal pencil to delineate contours without filling in the flesh of bourgeois French men in "Personnage"--the figures create a dynamism that only modern art evinces. This visual movement strongly contrasts the static and frigid characters of nineteenth century French artists like Ingres and David, whose canvases present both form and content, with the former prevailing...

Author: By Aparajita Ramakrishnan, | Title: Exhibit of Modern Art Surveys the 20th Century's Aesthetic Innovators | 4/2/1992 | See Source »

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