Word: painterly
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...buildings fascinates me," he reflected. "It's such a contrast to New England with its simplicity." With the help of Sons Nicholas and Jamie, Wyeth readied himself for the real reason for his visit: his induction into the prestigious Academic des Beaux-Arts. Only the second American painter to receive the honor-the first was John Singer Sargent-Wyeth gamely spruced up in the member's uniform, a style decreed by Napoleon: a dress suit richly embroidered with gold. "Splendid," beamed the artist, tucking the traditional bicorne under his arm. "I'll wear it to every dinner...
...disappointment of the day was Vik's spotty performance, as he had taken medalist honors the previous two years. He played impeccably from tee to green, hitting every fairway and 11 greens in regulation in his second round. However, Vik found himself in much the same predicament as the painter who can only work in bold strokes and has trouble executing a miniature...
...evoke memories of time only recently lost. The paintings on the side walls are less immediately accessible. One is an early work of a major living artists, whose expanding and developing talent has not yet been completely disse ted by critics and historians; the other a work by a painter whose stature does not warrant his being much appreciated by the public, but who is important to art students as an influential figure. Frank Stella's Red River Valley (1958) and Washington Allston's Diana in the Chase exemplify these two trends in the Fogg collection. The interests...
...Noland," writes Curator Diane Waldman in her catalogue essay, "ranks with Delacroix and the impressionists among the great color painters of the modern era. Unquestionably heir to Matisse and Klee in the realm of color expression, he is to his generation what they were to their own." This litany might have read better ten years ago than it does today; it is incantatory rubbish. Delacroix was not a "color painter" in any sense of the word that can be applied to Noland. He was a superb colorist whose art was occupied with matters other than the disinterested play of color...
...that reckons without the third woman (Janice Rule), a painter of weird murals and wife of the sometime stunt man who owns the apartment house where the others live and the tumbledown roadhouse where they drink. Her work, her silences and solitude, more obviously-and less interestingly-symbolize a sterility similar to that of the younger women. In the end, the women dispose of the stunt man (who has had all three of them) and are seen to be forming a sort of feminine trinity -mother, daughter and granddaughter. They seem at once mad and serene. Maybe Altman is exorcising...