Just as I was asking him if he thought that it was the same line that we saw in the black-on-white enamel paintings where de Kooning had managed to escape the seductions of color, an excited stranger interrupted us: “Brilliant, amazing, he’s incredible!
Just as I was asking him if he thought that it was the same line that we saw in the black-on-white enamel paintings where de Kooning had managed to escape the seductions of color, an excited stranger interrupted us: “Brilliant, amazing, he’s incredible!Tags: Business Plan Of McdonaldsAct Essay RubricEssays On The Road To SuccessHow Long Are Thesis DefensesThesis On Welfare EconomicsDaily Homework
For an understanding of why an art movement becomes dominant in any period it is necessary to look at some of the ideological and political views and social needs of its practitioners, its patrons, and even its critics.
In many eras—say the medieval age or the Renaissance—artists and their patrons, power and ideology, were at one with each other.
We spent almost as much time before it as we did before Excavation.
It was a deceptively simple, elegant drawing, conté crayon and charcoal on paper: I was completely taken with the certitude of the line, the perfection of the volumes, the articulation of the dry, cracking surface of the terra-cotta pitcher, the subtlety of the highlight on the dark, smooth jug. Already in his youth, my husband observed, de Kooning was approaching the almost pointillist optics of his great countryman Vermeer.
Today we no longer look toward socialism for a new culture—as inevitably as one will appear, once we do have socialism. Trotsky's view of culture in this essay differs from that presented in his earlier “Literature and Revolution,” first published in Russian in 1923, and in English in 1957.
Portions of this English translation are excerpted in Chipp's .
His enthusiastic desire (bordering on exhortation) for our enthusiastic assent, I immediately gave to him.
It reminded me of the time we were at the Brooklyn Botanical Garden on a lovely spring day and a lone garden-lover noticed that we were admiring wisteria in bloom and exclaimed, almost demanded of us, “It’s beautiful!
Everything, in retrospect, seemed to be contained in this beautiful little drawing.
The simultaneous edge and profile of the jar and pitcher that had made such an impression on us had become the elegant equivocal line that my husband was now pointing out to me in Excavation.