Word: painterly
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PHILIP C. CURTIS-Knoedler, 14 East 57th. "It's easy, in a slate like Arizona, for a painter to symbolize," explains Arizona Painter Curtis. "The trees, abandoned houses, ghost towns have always been a source of fascination for me." His oils-eerie scenes acted out in an atmosphere as hot and dry as Phoenix at noon-send spectators running for their Freudian primers. Through...
...from the window of his hotel room. When the portrait was nearly complete, Mr. Chandler took a look and found it a good likeness of Mrs. Chandler. Then, possibly thinking also of his own portrait, he told her in reassuring tones: "Henry, you know, never flatters." Returning the compliment, Painter Koerner, who generally finds men easier to deal with ("Women are more critical"), pronounced both the Chandlers good subjects...
...only a city that grew up around a stockyard could appreciate the art of Ivan Albright, now 67. And last week there it all was, 60 works in Chicago's Art Institute, in a fantasia of wattles, dewlaps and varicose veins, the lifetime work of Chicago's painter laureate. It is an exhibition for strong stomachs. Limbs were blotched and misshapen, rolls of flesh sagged swollen and pocked. In the background of the paintings were tumbles of battered objects, microscopically detailed, and all in ripe decay. Presiding over this exhumation was the master himself, smooth jowled, red cheeked...
Perhaps Hartford has a point. Perhaps one could legitimately reshape his idea and say that Picasso is a great painter who has painted very few, if any, great pictures. He is certainly a man whose innovations, and whose career as a history of innovation, have been more significant than his individual works. Hartford refers at one point to the great retrospective exhibit of Picasso's paintings held at London's Tate Gallery in the summer of 1960. Viewing this exhibit, which included paintings done by Picasso from the age of twelve right up to that year, one was greatly impressed...
Hartford never finds time, in his condemnation of Picasso, to mention the artist's surrealistic paintings. Hartford likes surrealism. He thinks Salvador Dali is the greatest painter of contemporary times. He even forgives the surrealist painter, Tanguy, for not painting recognizable objects, because Tanguy's paintings are so meticulously three-dimensional. But what does Hartford think of Picasso's surrealism? How does he resolve the combination of his pet ogre of the twentieth century with his pet movement of the twentieth century? He shouldn't keep the answer to himself...