Word: realism
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...artists who have painted Kennedy subject matter in the past year have accomplished anything more than timeliness. Social realism hardly makes the convincing picture that it did in the 1930s. But through Osborn's 27 chalk, collage and charcoal drawings in Manhattan's Downtown Gallery runs a brooding fury that links the cartoonist with the socially satirical art of Goya, Daumier and Ben Shahn. Side by side with looming figures symbolizing naked, illogical violence are Osborn's equally savage commentaries on the other nameless assassins responsible for the murders of Lieut. Colonel Lemuel Penn and the four...
Reality v. Romanism. By and large, criticism of the third session's agenda has been in the interest of greater realism rather than Romanism, clarity rather than cliche. Challenging the schema on religious orders last week, Belgium's Leo Josef Cardinal Suenens attacked the "ridiculous complications" of nuns' flowing habits, "which give the impression that the church is growing old rather than trying to renew itself in order to meet the needs...
...together and ultimately form the object over which the eye wanders without obstruction." Bonnard's spectral tapestries are a surface abstraction that invite the eye to play tourist. His imagery is so pleasing that few see the tricks of color and form that wrench the paintings away from realism into perceptual dreams...
...early novels, Julio Jurenito and The Stormy Life of Lasik Roitschwantz, Ehrenburg mocked Right and Left, capitalism and Communism (when Roitschwantz was republished in the U.S. in 1960, it was much to his embarrassment). But in the 1930s, he became a militant Communist, began cranking out "social realism" clinkers that glorified the Russian regime. His reasons are unconvincing: "I came to realize that a soldier's fate is not that of a dreamer, and that one ought to take one's place in the fighting ranks. I did not renounce what I held dear, nor did I repudiate...
...work for a balance," says Von Groschwitz. His rough rule was to give a third of the show to Americans and the rest to foreigners. The result shows how abstraction still rides high everywhere except in the U.S., where the strongest entries belong to the schools of pop realism and California figuratives. But balance does not suffice to explain the small numbers of young British artists and optical painters at the exhibition, especially in the face of bulky crops of Spanish, Italian and German artists...