Archive for the ‘Drawing’ Category

Dialogue: John Wilson/ Joseph Norman

Friday, September 1st, 1995

JOHN WILSON is a classically trained artist whose life’s work has been a search for enduring, spiritually charged images of African-Americans. JOSEPH NORMAN weaves together all kinds of imagery into elaborate compositions that are elegant, yet full of feeling. “For both of these artists, art remains an important way to think about what it means to be human and to have an inner life.”

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12th Annual Boston Drawing Show

Saturday, April 13th, 1991

GERRY BERGSTEIN’s drawings show scribbles, scrawls, crossings-out, angry re-workings, markings of struggle and doubt. From this chaos of marks on paper emerge luminous little still lives, marked by the process of decay: visions of a world in flux, where everything is changing, growing, living, dying, and being reborn.

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Guercino

Thursday, March 14th, 1991

GUERCINO drew like an angel—his gorgeous line curls across the page; his brush forms shadows that suggest a sense of the roundness and fullness of life. His best drawings are more than drawings—they are blessings, exquisite expressions of those moments when Art and Faith are one.

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The Grand Tour

Sunday, January 28th, 1990

Light as a whisper, these elegant images, in the delicate style known as ROCOCO, convey the “sweetness of life” before the Revolution. Something of the warmth of the artist’s hand still lingers in all the little jabs and touches of chalk or ink that make up these delicious little 18th century drawings and prints.

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Adolph von Menzel

Tuesday, July 11th, 1989

MENZEL’s drawings often show people and things as if they were turning into shadow, turning into smoke, dissolving into a cloud; just about to disappear. He said, “I early cultivated the habit of drawing things as though I were never to see them again.”

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More Than Drawing

Thursday, March 1st, 1984

Drawings as a picture making, story telling, dream machine. Drawings that dance, stretch, yearn, arch, and glide across the page. The pleasures of looking emerge here not from what is observed but from how it is rendered; not the image but the artifice.

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The Drawings of Palladio

Saturday, May 1st, 1982

“There is something divine about his talent, something comparable to the power of a great poet who, out of the worlds of truth and falsehood, creates a third whose borrowed existence enchants us.”

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The Sketchbooks of Le Corbusier

Tuesday, December 1st, 1981

LE CORBUSIER created his own myth through the organic generation of forms. His genius constantly renewed itself, pulling new phenomena into the orbit of his thought and recreating them in the purified, monumental yet human forms of his architecture.

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Work on Paper

Sunday, February 1st, 1981

Each rectangle is like a picture of a picture, moving through a series of transformations. The tremulous drawings are like jottings, hieroglyphics, messages in bottles, unreadable postcards, ideas coming into being, the first appearances of the not-yet-visible, the impalpable images taking form before our eyes.

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Ingres 1780-1980

Monday, December 1st, 1980

For a twentieth-century audience brought up on abstraction, INGRES’s greatness, his fascination, lies in the abstract qualities of his line, its restless, obsessive movement across the page. Ingres’ line has power, grace, life; it’s brilliant, dramatic, neurotic, even perverse. He told his students, “Drawing is everything; it is all of Art.”

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Claude Le Lorrain

Tuesday, April 1st, 1980

CLAUDE LE LORRAIN depicts the moment just before transfiguration — the moment just before women turn into goddesses, or girls turn into swans, or life turns into art. His light is dusk and twilight — the darkling light that washes the physical world in unearthly beauty and fills the heart with an intoxicating sense of possibility.

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