Word: painterly
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Such were the romantic subjects chosen by Albert Pinkham Ryder (1847-1917), the most eccentric, least prolific, most technically inept but arguably the most interesting U.S. painter of his time. While most of his contemporaries carried on with grandiose elaborations of the Hudson River School, Ryder strove to distill the simple and essential. Later, while the impressionists were turning everybody's eyes toward the light, Ryder studied structure. Later still, when other U.S. painters were studying ashcans and backyard realism, he stubbornly continued to dream of symbols and eternal truths...
...stashed away for years (from 1929) in the storerooms and corridors of Washington's Smithsonian Institution. Seventeen of the 18 were the gift of a New Yorker named John Gellatly, an eccentric who had the wit to marry money and the eye to pick Ryder as the American painter who could hold his own with the Europeans. In a final exuberance, Gellatly gave his whole $5,000,000 collection to the Smithsonian, leaving himself and his second wife with only a $3,000-a-year annuity. When he died, she sued-but the museum kept the paintings...
...fathers and sons and the communications chasm in suburbia. Kurt Vonnegut has found a subject that will support any amount of black humor and white rage, fire-bombing of Dresden-which he lived through as a war prisoner. In Pictures of Fidelman, Bernard Malamud writes of an impoverished painter who outwits a gang of forgers who force him to turn out a new Titian. From Paris comes The Fruits of Winter, the new Prix Goncourt winner that was the occasion for enough scheming and plotting on the part of the prize jury (TIME, Nov. 29) to provide material...
...began in 1848 with mutual vows of temporary chastity; she was barely 20 and ailing, he wanted to travel before being burdened with children. It ended in 1854 with ferocious bitterness and an annulment that left Erne-still a virgin at 26-free to marry Ruskin's protege, Painter John Everett Millais...
Born in another age or in another country, Jacob Jordaens might have been considered a great painter. But the Low Countries in the 1600s, in spite of wars with Spain and brutal religious repression, saw the flowering of one incomparable painter after another-Vermeer and Rembrandt in Holland, Rubens and Van Dyck in Flanders. As a result, Jordaens passed into history as something of an also-ran. Now, thanks to a splendrous 315-work display of paintings, tapestries, drawings and prints at the National Gallery of Canada in Ottawa, Jordaens is finally getting the kind of full-beam spotlight necessary...