Word: masson
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...also on TV these days as an amusingly supercilious huckster for Paul Masson wines. In the funniest of the commercials, he bursts into a locker room as a group of huge football players are about to give themselves a ritual champagne shower after a winning game. "Gentlemen!" he says reprovingly, as he expropriates a bottle and glass from a giant paw. "This is Paul Masson champagne." Holding a bottle close to one dull-looking jock, he asks, "Can you read?" "Vintage 1980," the (cowed) player replies. "Remarkable," responds Gielgud with good-natured sarcasm...
...Most Ubiquitous Actor: Sir John Gielgud, 78, who has appeared in e verything from Gandhi and Brideshead Revisited to commercials for New York City's Inter-Continental Hotel and Paul Masson wines...
...celebrity endorser had seemed snug in his position, it was oracular, orotund Orson Welles, 66, who boasted that Paul Masson Vineyards let nothing go "before its tune." But the winemaker let Welles go, and has now replaced him as spokesman with that quintessential enunciator Sir John Gielgud, 78, whose first two ads put him in an art gallery and amid a forest of pro football players. Gielgud, who has been cashing in just a teensy bit on his posi-Arthur cachet, would seem more at home with a Mouton-Rothschild than a Masson party jug. But the vint ner insists...
...paintings, simultaneously vast and womblike, in his work after 1947. Because of his aspirations to sublimity, it is difficult to assimilate Pollock-as some authorities have wished to do-to the traditions of the School of Paris. The French painter he most admired, the surrealist André Masson, was set against the pre-eminently French virtues of lucidity, calm and mésure. An extraordinary number of strands are braided and involved in Pollock's work, from Indian sand painting to the theory of Jungian archetypes, from Zen calligraphy to El Greco, from American jazz and Western landscape...
...together in his work, not out of some empty eclecticism (which is what our "expressionists" give us today) but in the belief that cultural synthesis might redeem us all. How can one follow this show, from its first choked and turbulent exercises, through the grapplings with chosen masters (Picasso, Masson, Miró, Orozco) in the "totemic" and "archetypal" paintings of the 1940s, into the air and vastness of Lavender Mist or Autumn Rhythm, without seeing that Pollock's career was one of the few great models of integrating search that our fragmented culture can offer...