American Caesar: Douglas MacArthur 1880 - 1964 by William Manchester

By William Manchester

MacArthur, the general public determine, the non-public guy, the soldier-hero whose secret and allure created a uniquely American legend, portrayed in a super biography that may problem the loved myths of admirers and critics alike.

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If you please, as a real object. I was even willing Painting with Two Balls, 1960. 2 cm. Collection the artist. Art © Jasper Johns/Licensed by VAGA, New York, NY 58 to take it as a reference – something steady and set. Art has so often involved ambiguities and the possibility of ambiguities. I originally thought the radiator was not ambiguous, that it was a basis on which we might agree. I am not sure any longer that I believe or am secure in that type of thinking. 9 59 The Changing Focus of the Eye Interestingly, Johns’s reading of Wittgenstein reinforced this shift in his thinking, for the philosopher himself had undergone similar changes in his thoughts about language.

The potential confusions between objects, art and language yielded the possibility for visual and verbal puns, not to mention more ambiguous plays of meaning. For example, Johns made two sculptures, one with two cans of ale (p. 72) and the other representing a can of Savarin coffee (p. 73) used as a container for his paintbrushes, rendering both with such an uncanny degree of realism that these objects’ true identities are discerned only when a viewer lifts the cast-bronze sculptures and realises that they’re far heavier than the mass-produced objects they painstakingly replicate.

21). In selecting a target as his subject, Johns focused on a motif that shared several characteristics with the flag. To begin with, it was utterly familiar, an everyday image everyone knows. Secondly, it was composed of a few simple geometric elements that would allow Johns to devote considerable attention to the application of paint without compromising its legibility. Finally, it was flat, so that it elided the usual conflict between abstraction and representation: there is little practical distinction between a target at which one takes aim and a painting of one.

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