Word: warm
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Dates: during 1950-1950
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...Indonesian's atlas the western part of New Guinea is called Irian. No one is quite sure what the word signifies. One theory is that it means nothing, another that it means "warm land." It is, indeed, a torrid jungle and mountain wilderness as big as California. Sparsely inhabited by fuzzy-wuzzy Melanesian cannibals and practically unexploited, it has been a Dutch colony the past 122 years. Last week Irian was also a hot focus of argument between its Dutch rulers and the bumptious young Republic of Indonesia...
...York Times's Jack Gould thought RCA's primary colors (red, blue and green) "appeared less harsh to the eye than was the case with the CBS system," but he found "a tendency toward green in some images" and "the RCA tints seemed somewhat less warm" than those of CBS. The Wall Street Journal's Joseph Guilfoyle complained that "the reds were off-color" in some pictures. Joseph Kaselow, in the New York Herald Tribune, agreed that the improved RCA color was "basically good," even though marred by "fuzziness" and "unnatural flesh tones...
...Warm Ashes. If the abstractionists were mostly dry, the more traditional painters were soggy. Even the much-admired ones often succeeded by mere competence. Henry Koerner's blend of banality and obscurity, Fire on the Beach, was an ashen canvas warmed by brilliant drawing alone. John Koch's The Monument was curious in content and cottony in color, but it had a complexity and depth of composition that few moderns could bring off. Isabel Bishop's Nude Bending (one of the show's few nudes) was so dimly painted it looked like a fading wraith...
...Warm Embrace. The only topnotch painter shown at peak performance was Buffalo's Charles Burchfield, who had somehow managed to slip a watercolor into an exhibition of oils. His Dark Ravine was menacing as an abyss by Fuseli, but richer, and lacking all pretension...
...staging its survey, the Met had honored U.S. painting with a warm and far-too-inclusive embrace. Like the Pepsi-Cola roundups of yesteryear, which were similarly selected, it proved only the obvious point that the U.S. boasts a score of brilliant painters and a mass of mediocre ones. This conclusion was not at all depressing-because it holds true for every nation and for every field of art-but the show...