Review | The painting shows a...

Generated on 2023-07-06 06:00:37

Result #1

Dr. Frankenstein is a marvelous painting of stained glass panels depicting fish, the birth of Demeter, and the growing out of the mummified head of Christ. The birdlike figures seem to be emerging from a twisted-up, missing upper part of the painting, then suddenly disintegrating into various grisly shapes and colors. Dr. Frankenstein is as beautiful as a flower on a wild day!Like much of Degas work, his portraits are faithful and intellectual in content, with a deep understanding of technique, not to say techniquelessness. The fragmented and awkward figures and highly human figures, most of which are flat, illustrate the sort of abstraction that many of the great artists of our day had to grapple with. The paintings are richly woven with thoughtful, brooding, even over-eerie traces of detail. In a special, rather surreal way, they're a kind of retromania. Degas eye is filled with such details as the simple, hovering patterns of broken glass or the delicate, dark, unblemished surfaces of the carved panels. The effect is reminiscent of the way Rembrandts body of work is sustained in the dark, eerie atmospheres of his early watercolors.Degas large woodcut-and-painter-size sculptures, also non-representational, are so wonderfully crafted that you cant help but be amazed at their craftsmanship. His small, delicate woodcuts capture the essence of nature in a photographic manner. His beautifully detailed sculptures are equally expressive. The artist uses nature as a crutch for his world and as a point of conflict. The animals and birds in his sculptures are so much like his own subjects that it seems almost as if the world were designed for this artist. Degas perfect craftsmanship and exquisite craftsmanship reveal something extraordinary about nature, but his work is also a delight.

Result #2

It was a monument to the power of the sea. It is as if the artist had managed to capsize the structure and turn it into a golden egg.

Result #3

The painting shows a shrieking wind from low-hanging squall clouds as it pushes a three-masted schooner through towering cape horn swells. St. Elmo's fire glows at the top of the mainmast as lightning strikes the storm-tossed sea. A cinematic masterpiece of a painting! The body is burned away, a cold spirit moves from the other side of the canvas. These modern works may appear like the work of a child at the age of five, but they are grown into the mature artist.The paintings were a welcome distraction from the opening museum shows at the nearby Iowa State University. In this context, the next opportunity for art students to learn about the art of the Midwest will be a special exhibition at the Iowa Museum of Art and the University of Iowa Art Center. The art objects in the exhibitions can be distinguished from the great works in the museums collection: Richard Serras pictures of Kansas City and the painting of Jim Clark at the Art Center in Minneapolis. In the art galleries of the museums, serra, Clark, and also Serra will be represented. All of the art here is contemporary, all of the art is American.The Art Center exhibition presented two works that show the steady evolution of Art Center exhibitions since they were founded in 1922. A major work of the 1960s, without the help of the museums, was the installation of William K. Hearst, Arshile Gorky, and other post-World War II American artists. Hearst and Gorky, who died in 1969 at the age of thirty-two, were to be featured in this exhibition. But to be a good Art Center, art exhibitions must be innovative and there is no art museum in the world today more innovative than the Art Center. When the Art Center exhibitions are added to these other outstanding artists, many of them are not in the Museum of Modern Art collections.An important exhibition at the Art Center at the Iowa State University was Gordon Matta-Clark: Modern Artists with New Perspectives on the Modernist Concept, with new and old ideas, and an examination of the new or emerging positions of the art history textbooks in the present day.

Result #4

The painting shows a shrieking wind from low-hanging squall clouds as it pushes a three-masted schooner through towering cape horn swells. St. Elmo's fire glows at the top of the mainmast as lightning strikes the storm-tossed sea. A cinematic masterpiece of a painting! (More than this, however, the show overflows with intellectual associations.) In a corner of the room, paintings display their signatures—the pine, the sepia, the hothouse. Here too, the anthropomorphic figure holds a halo for its privileges. Chiron, the god of storms and fires, is also the saint who once sacrificed to fire, and the painting is titled Pseudo-Blasphemy. The painting so dedicatedly endows Chiron with an aura of eternal, eternal heroism. The face is caricatured and distorted by the swirls of lightning, and the flaming man is covered in gleeful colors of triumphant triumph and victory-victripping glory. Such a portrayal of the ancient Greeks is a clear nod to Cappadocians, who wrote of the invasions of the Persian Empire by Alexander in the fourth century B.C.E. The painting thus documents the incessant warping of the ancient worlds winds and weathering stars.Cranach is among the most important works in the show. The bright-green, purple, and beige stripes on her painting The Nymphadadneumon, 1971, become atmospheric, dappled air from clouds, as the paper texture of smoke flickers in the background. A thick layer of paint over an almost invisible surface gives the colors a singular effect, with a monochromatic hue, darker blues and mauves. Cranach uses the same kind of dense layered paint-as-tape as her brushstrokes, but without the pressure and forbiddening of paint handling. Her painting is lively and loquacious, full of meanings and considerations. Cranach herself was, at the time, a major American artist, not only for her aesthetic accomplishments but for her strategy and composition. Cranach represented the new realism in painting, while putting it to good use in painting.

Result #5

Rather than making obvious references to the paintings recent history, Hemingway seemed to be focusing on the great features of the work. The surface, the paint, the ink-jet print, the world of gestures: All these elements were evocative. At the very top of the painting, a large cloud-filled field dominates the background; right off the top, a shallow crater seems to expand, revealing another flat, solid layer of paint. The white canvas in the middle of the painting reveals a black, nonmailable globe of undulating clouds. The upper half is filled with handprints of the artist on an easel with a painted-on white surface. In another room, a small square of white paint covered a gallery wall. Hemingways work, particularly his recent paintings, is heavily worked and finished with meticulous attention. The painter himself does not paint. The effort and care that goes into his painting is truly remarkable.