Archive for the ‘Favorites’ Category

Elizabeth Vigee-Lebrun

Friday, July 19th, 1991
Elizabeth Vigee-Lebrun

Madame Vigee-Lebrun revo­lu­tion­ized the portrait. She despised the powder and stiff clothes that women wore; she let their hair down, and draped them in soft, flowing shawls and painted them looking soft, dreamy, natural, alive. Her paint­ings helped to create a new look, a new style, a new atti­tude to life in pre-revo­lu­tionary Paris.

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Dream Lovers

Friday, July 12th, 1991

When Berthe Morisot met Édouard Manet at the Louvre in 1867, he was 36 years old and married; she was ten years younger and still living with her parents at home. She was lively, intel­li­gent, charming, talented. He was bril­liant, diffi­cult, fickle, famous, fasci­nating. She had long admired him from a distance; he imme­di­ately wanted to paint her portrait.

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Fragments of Antiquity

Friday, June 21st, 1991

All that we know of Greece has come to us in ruins – armless, head­less, faded, fallen, broken, battered, lost in trans­la­tion. What we have are frag­ments, frag­ments that have lost almost every­thing – except their poetry. But, gener­a­tion after gener­a­tion, that poetry has never lost its thrilling, visionary gleam.

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The Future of Art

Friday, March 1st, 1991

It is art that acknowl­edges the struggle of its own making, and conveys a sense of life as composed of frag­ments, where not every­thing is legible, and some things are irrev­o­cably ruined or lost. The past haunts and enriches the present. Memory and imag­i­na­tion are inter­twined. It is a mirror of the soul.

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Madame de Pompadour

Friday, June 1st, 1990

Madame de Pompadour always managed to look graceful, even in the most constricting clothes — corsets, bustles, and stays. Like Madonna, she created a Look that was supremely arti­fi­cial — the powdered hair, the heavily applied make-up, the elab­o­rate gowns. Like Madonna in her John-Paul Gaultier bustiers, La Pompadour in her negligée proudly displayed her sexu­ality as the source of her power.

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Jean Arthur

Wednesday, May 30th, 1990

On film, JEAN ARTHUR is impul­sive, but truthful ‑‑ true to the moment, while the moment lasts. She is chaste, but not prudish; she truly inhabits her small, athletic body, and she moves like a dancer with an easy natural volup­tuous­ness. Her soft, grav­elly voice is aston­ishly expres­sive. And some of her greatest lines aren’t words at all, but an aston­ishing reper­toire of whim­pers, sighs, sobs, giggles, and moans.

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A California Dream

Tuesday, May 15th, 1990

The places we have known do not belong only to the world of space on which we map them for our own conve­nience. None of them was ever more than a thin slice, held between the contiguous impres­sions that composed our life at the time; the memory of a partic­ular image is but regret for a partic­ular moment; and houses, roads, avenues are as fugi­tive, alas, as the years.”

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The Starn Twins

Sunday, February 18th, 1990

It can be fright­ening, but that’s life,” said Doug. “Art is part of life,” said Mike. “It’s a real part — it’s the essence of life,” said Doug. “There’s no reason to make it perfect,” says Doug. “We want to show the phys­ical nature,” said Mike. “The phys­ical nature,” said Doug. “Of every­thing, but in partic­ular, Art,” said Mike.

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My Day Without Art

Monday, December 4th, 1989

Standing at the center of the spiral, I see the backs of all the chairs facing away from me, and feel a tremen­dous shock of lone­li­ness and loss. Looking down from the balcony, I see that the chairs are the begin­ning of a spiral that could go on forever.

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Ed Ruscha

Friday, September 8th, 1989

From the window of the studio ED RUSCHA had in the 1960’s, he could see a sign reading HOLLYWOOD. The big white letters are as flat an fake as an old, aban­doned movie set, crum­pled and peeling, with some of the letters falling down. But Ruscha’s many images of that sign make it a real sign, lumi­nous and charged with light.

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Frances Hamilton: Books and Painted Stories

Sunday, February 1st, 1981

FRANCES HAMILTON has refash­ioned much-loved images, memo­ries, and dream­strans­forming them into a fully re-imag­ined universe. It is this trans­for­ma­tion – the serious, diffi­cult task of art – that gives her work its power to enchant.

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