Word: visualizers
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Dates: during 1970-1970
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...That is what an angel is, an idea of God." So said the great mystic, Meister Eckhart. But ideas have no visual form, and the struggle to make angels concrete absorbed the energies of Europe's artists for nearly 1,000 years. The angel became one of the master images of religious experience...
...artist whose illustrations are to most juvenile scenery what a Tiepolo ceiling is to a hand-decorated pup tent. Too many children's books present lumpily massive, poster-hued semi-primitive drawings that intrigue for only one or two cheerful skim-throughs. Spier, by contrast, spends months accumulating visual research and folios of tiny sketches for his subjects. When he shows the 19th century harbor of Honfleur (in Hurrah, We're Outward Bound!) or the 18th century Thameside (in London Bridge Is Falling Down!), he knows as much about the shops and ships, the rigs and ragamuffins...
Among the Picassos is the 1912 Still Life, a classic example of Cubico-futuristic tommy rotting. Leo, the man of taste, hated it; Gertrude, the illogical intuitive, loved it. Perhaps neither recognized that it represented a major change in human visual experience. Just how emphatic that change was can be seen in a huge retrospective of the history of Cubism opening this week at the Los Angeles County Museum...
Buckled Planes. Thus, with incredible bravado, Picasso and Braque (neither had yet turned 30) set out to displace a history of visual representation that had lasted more than 500 years. Every element of art had to be rethought in terms of a new function-line, color, light, volume, space. Thus the solidity of the rocks, lighthouse and boats in Braque's Harbor in Normandy, 1909, is not achieved through light-and-shade modeling, still less by perspective; instead, each form begins to buckle into planes and projections, and every shape is evenly compressed against the eye. Even space, which...
Time was when Frankenheimer's movies (The Manchurian Candidate, Seconds) were charged with an almost tangible visual energy, but recently his style has become so severely formal as to be almost academic. He is still capable of tour de force camera work (like a stunning crane shot that travels slowly across a deserted house, making every brick and notch of wood come alive for the eye) but then no one has ever quarreled with his technical vituosity. It is his story sense that has come increasingly into question...