Word: pigment
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Dates: during 1980-1989
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...which Scully had seen as a student, was a presiding influence. It had shown him how a neutral and even boring form, an imperfect rectangle, could accumulate reserves of feeling and cogitation -- how the life of the mind and its tentative decisions could be embodied, not just illustrated, in pigment. And there had been a visit to Morocco in 1970; there Scully saw stripes everywhere, dyed into awnings and djellabas and bolts of cloth, not a theoretical form but a motif embedded, as it were, in the landscape. Then he moved to New York and, as he puts...
...Gorky, whose looping organic line is reflected in her sketchy charcoal underdrawing. For all its size, it is an agreeably spontaneous image (and was painted in one day), pale and subtle, with a surprising snap to its trails and vaporous blots of blue, pink and malachite green. The thin pigment is soaked into the weave of the canvas, making it, in effect, a very large watercolor...
...ways, remain an abstract expressionist at heart, a painter who loved spontaneous gesture and the kind of unforeseen imagery that popped out of it. From the big red hand (of God?) that appears in Eden, 1956, to the shamelessly romantic sky space that hangs behind the lavender blobs of pigment in Sacrifice Decision, 1981, one sees traces of the surrealist ideas that had formed Pollock -- an openness to the kind of unsought private image that was generally barred from color-field painting. Frankenthaler disliked programs and was not a self-conscious avant-gardist...
...refreshment one feels in going from a reproduction of a well-known painting to its original is lacking, because his paintings are all based on silk-screen reproduction of photographic images. Whether flat and grainy, as in the '60s, or worked up with a creamy slather of broad-brush pigment, as in the '70s and '80s, they are essentially simulations of the act of painting, types of visual packaging...
...sallow planes of a face, innumerable gradations of Venetian red and salmon pink in the body of a nude, rescued from mere allusiveness by the vehement drawing of shadow that gives Kossoff's work its tonal framework. Its solidity is relieved, almost involuntarily, by the whipping of skeins of pigment fallen directly from the brush, which work as a form of counterdrawing, lifting the thick surfaces from inertia...