Word: manet
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...such portraits, Van Gogh attained the grave humane fullness of his great model Rembrandt; the landscapes are like nothing anyone had painted before. No wonder the little asylum, with its worn flagstone corridors and pine-shadowed garden, remains one of the sacred sites of modernist culture. Here, as in Manet's Paris and Cezanne's Aix-en-Provence, art turned on its pivot in the 19th century to face the 20th. One does not see many exhibitions like this in a lifetime...
...road and follows the slant of the windblown pines is entirely Matisse's own. The modulation of silvery grays (jug of water, belly of sole) with a few touches of red within the ambient - darkness of Still Life, Fish and Lemons, 1921, accentuates a lesson Matisse had learned from Manet: that black, far from signifying the absence of color, can read as a suave and powerful hue. Matisse's work, seen in this concentration, proves once more that in painting, innovation means nothing without a vital sense of the past. "I have simply wished to assert," he used to tell...
...work is easily acquired, but is it obligatory? After reading what has been written about the Katz retrospective that opened last month at New York City's Whitney Museum of American Art, one would think so. The reviews and catalog essays thus far have favorably compared him with Edouard Manet, Edgar Degas, Jackson Pollock, Frederic Remington, Caspar David Friedrich, Cole Porter and Fred Astaire. "Katz's astonishing achievement," writes Curator Richard Marshall in the catalog, "is to have reconciled abstraction and realism in post-World War II America...
Americans once tended to treat high art as a refuge from mass culture. Let Hollywood exude whatever schlock it wanted; let the Box leak its eight hours of imagery a day into the average viewer's skull -- there would always be the Manet or the Rothko in the museum to reorient the distracted eye. The demands (and rewards) of painting were one thing, those of mass media another...
...thinks of him, with reason, as quintessentially "German." Yet his art had the same relationship (or lack of one) to German expressionism as Edouard Manet's did to French impressionism. Beckmann was not interested in the pseudotranscendental aspects of expressionism--its yearnings for a higher world and bleatings about this lower one, its way of ducking into the "mystical" and the "primitive" as an escape from the politics of immediate experience. To him, as to the Dadaists in Berlin, this was for air heads. "My heart beats more for a raw, average vulgar art," he noted...