Word: paints
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Dates: during 1980-1989
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...60th birthday or so he remained an artist worthy of comparison (if painters and writers can be compared) with Shakespeare. There was a similar range of feeling, from bawdry to tragedy, coupled with a rhetorical intensity of metaphor and a great depth of experience. After Guernica he could still paint very well: L'Aubade, in 1942, with its stark intimations of confinement and oppression, seems to distill the mood of occupied France. Some of his portraits of Dora Maar, Marie-Thérèse's successor as his mistress, are of ravishing and edgy beauty...
...painter named José Ruiz Blasco (a fine-boned inglés face, nothing like Pablo's simian mask; that came from his mother), and by 13 he was so good at drawing that his father is said to have handed over his own brushes and paints to the boy and given up painting. If the story is true, it goes some way to explain the mediumistic confidence with which Picasso worked. "Painting is stronger than I am," he once remarked. "It makes me do what it wants." Painting had won him the Oedipal battle before his career had begun...
...cowardice, the naivete and condescension of the Salvation Army sermons, Bill's amorality, Lil's sexuality--these elements of Feingold's adaptation should have been emphasized in the production. The Brecht and Weill characters, as revealed in their songs, are not the cute bumblers of Jones' production. The two paint a much crueler, darker world, a world in which the little guys squander their energies fighting each other instead of their common exploiter. The ending is farcical in this production; Jones' interpretation sacrifices nuance and social commentary for humor. Happy End is amusing, enjoyable, expertly presented--but too slick...
...would be too easy to call Stuart Cary Welch an eccentric. In his office on the very top floor of the Fogg art museum, secluded among his collection of documents about Persian, Indian and Mughal painting, Welch thinks and writes about things that most people don't think and write about. He carries a battered Vuiton briefcase and wears J. Press shirts spackled with paint, spotted with holes, striped with tradition. He has a tendency, as one of his friends says, to "show up in sweaters that have been worn day in and day out." He is independently wealthy; there...
...Buffalo's Albright-Knox Art Gallery in June, supports this notion, embracing as it does nearly every period in Miró's long career (he was 87 last week). The angular planes of Standing Nude, 1918, for example, show that the young goldsmith's son, painting in Barcelona, had already studied reproductions of the works of the cubists in Paris. Because of World War I, Miró could not get to Paris himself until 1919. By then he was 26 and a determined individualist: he remained very much the hedgehog (who knew one big thing) amidst...