Word: manet
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...right that this show should be held in London, since the word post-impressionism was invented there, and applied to the painting of the 1880s by Roger Fry, the English art critic, when he organized a sensationally vilified show of Manet, Van Gogh, Gauguin, Seurat, Cézanne and others at the Grafton Galleries in 1910. By then the painters that Fry's exhibition encircled were all dead, and his name for them was a last resort: he toyed with calling them "expressionists," luckily decided not to, and at last exclaimed, "Oh, let's just call them postimpressionists; at any rate...
Written by the British art critic and historian Ian Dunlop, Degas (Harper & Row; 240 pages; $37.50) is by far the best introduction to the life and work of the painter of boulevards and ballet dancers now in print. A student of Ingres's and the great contemporary of Manet, Flaubert Sand the Goncourt brothers, Degas was one of those ocular witnesses without whom the cultural life of France in the 19th century cannot be understood; and no writer has done a better job of placing this tetchy, formidable genius, with his astonishing powers of observation iand his bitter tongue...
Charles Saxon's One Man's Fancy (Dodd, Mead; unpaged; $10.95) is a collage of upwardly mobile Americana. "Is it Manet or Monet who isn't as good as the other?" asks a culture-hungry matron. A father holds his little girl's hand: "What did you learn in school today?" She shows him: an over-the-shoulder judo throw...
...somewhat differently than a young one? This may be explained by the pure accident that there are very few of them on the market just now, so it is possible that the artist did make weird and wonderful journeys in the tangled warren traversed by the successors of Manet, Degas, et al., but here, now, it is hard to trace a great deal of development...
Exactly a century after Manet painted his picture, Hellman published Pentimento, a series of autobiographical vignettes. Julia's story, included in the book, is at times both sentimentally nostalgic and self-righteous, but Hellman recounts it without becoming offensive. In this filmed version, Alvin Sargent's adaptation and Fred Zinnemann's direction usually retain Hellman's balance. At times, however, the women's deep friendship becomes cloying, subtly but soppily suggesting an adolescent lesbian relationship, an implication Hellman worked to avoid. And in the movie Hellman-and-Julia's admittedly courageous antifascist actions are presented as historically unequalled acts...