Tag Archives: art

On Edges and Errors

Two descriptions in this article about Cézanne are helpful for me. One concerns Camille Pissarro’s treatment of edges: Pissarro was the subtlest of the leading Impressionists, devising ways of giving distinctive presence to each part of a painting, by, for … Continue reading

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Crear con arcilla – Las Creaciones Artísticas

Partiendo de un dibujo sobre un plano de arcilla, se pueden crear formas plásticas: con el bajo y el altorrelieve las figuras emergen, se separan del… Crear con arcilla – Las Creaciones Artísticas Alba, me encanta el objeto y la … Continue reading

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Shows and Prose

Along comes more NYTimes torqued and taut art talk of the sort that sweeps me up. … Several gorgeous self-portraits made toward the end of his life. Their precision is astonishing… It’s clear that what most interested Ellis about ink … Continue reading

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‘A Beautiful, Pathetic Object’

It’s a pleasure to meet William T. Wiley, who moved and shook in a West Coast “funk art” scene while steering clear of wealth and fame. It’s no surprise that agreement on what exactly defined the funk art movement was … Continue reading

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Messing With Space

Like a pig rooting for truffles I harvest luscious phrases from Roberta Smith’s art critiques. After “he jumped on the Color Field painting bandwagon,” Jules Olitski (1922 – 2007) created works that “mess with space and scale in a visceral, … Continue reading

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‘Gloopy Glory’

The paintings of 90-year-old Frank Auerbach, “last surviving member of a pathfinding generation of postwar British figurative painters,” are up my alley. Auerbach’s iterative pigment attacks are savage and astonishing, and Jason Farago is always good for a blue-streak of … Continue reading

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‘Miner of Difficult Truths’

I can study all day Alice Neel’s brushwork and modeling of flesh and features, how she gestures at her subjects’ surroundings with casual precision. Her “Carmen and Judy” has a frank, womanly exactness and searing intimacy that The New Yorker’s … Continue reading

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Be Paint

… [Clement] Greenberg’s organizing idea was surprisingly simple: modern painting, having ceased to be illustrative, ought to be decorative. Once all the old jobs of painting—portraying the bank president, showing off the manor house, imagining the big battle—had been turned … Continue reading

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Wide Load

Jason Farrago lavishes a container shipload of exegetical rumination on Julie Mehretu’s paintings. Lines accreted in an essentially radial configuration, with large arcs orbiting an absent central axis, and orthogonal spokes sprouting from the core. (The Mehretu black line is … Continue reading

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‘Certitudes’

This is the Cubist revolution: Here, for the first time in Western art since the Renaissance, the world as we see it no longer has primacy. The picture is no longer an act of perception. It’s an act of imagination, … Continue reading

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