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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