Word: painterly
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...though it is, the court decision may be a less critical problem for the skin magazines than their own proliferation. Success has spawned successors at a rate now heading toward the suicidal. The great majority of imitators are blatant strip-offs of Playboy's successful format. Guccione, a painter and photographer who has succeeded largely on a genius for promotion, led the drive on Hefner's long monopoly in 1969-and already sells some 3.4 million copies of Penthouse each month (v. Playboy sales of 6.7 million). Playboy maintained a haughty indifference to Penthouse for three years, then...
...Manhattan advertising dodge and set up as a painter. Since Ned is the sort of painter who celebrates sunsets, covered bridges and barns, the Constantines decide to move to the source of supply. They chance on the tiny, lost village of Cornwall Coombe, a New England hamlet that, except for electricity, martinis and the odd Oldsmobile, seems stuck in the early 19th century. The farmers there avoid newfangled machines and methods, and the rhythmic planting, growth and harvest of the corn crop through the turning seasons rules village life...
...Char, is a tangle of the glutinous verbiage that some French poets exude like silkworms when in the Spanish presence. Nevertheless, the exhibition will certainly be a tourist success. These are, after all, the last Picassos. They are also the worst. It seems hardly imaginable that so great a painter could have whipped off, even in old age, such hasty and superficial doodles. One enters in homage and leaves in embarrassment...
...cruel paradox, a painter who was the master of visual sensation-able to pack more concrete feeling of weight, rotation, sharpness, elasticity and vibration, color or smell into a shape than any other man of his time-found himself, at the end, painting with only the most tenuous relationship to the world...
What remained for him was the fact of painting, the reflex actions of being a painter - turning out canvases rather as a scalp, having no choice in the matter, grows hair. The subjects are only nominal, shallow receptacles for Picasso's prodigious instinct to survive. Their existence owes itself to fate, not to necessity. In this way, Picasso's last show is a depressing commentary on the idea that it is better to paint any thing than nothing; two years of silence would have rounded off that singular life better than these calamitous daubs...