ALTHOUGH JON CORBINO is of Italian ancestry-he was born in Vittoria,
Italy, in 1905-his highly individual work has an American vigor. He has
twice been the recipient of a Guggenheim fellowship. When his artistic
sources become less obvious, he may well emerge as an artist of ponderable
distinction. It may be true that hie debt1 to Delacroix and Ooya are large.
To the Frenchman he seems to owe the almost physical strength of his crowded
delights, to the Spaniard his unsparing treatment of human meanness and
uglineu. But tbe raw power of the animal subjects he delights in hae a distinct
New World tension.
Escaped Bull owes much of its dramatic potency to Corbino’s intensely se
lective eye and habit of drawing from memory rather than from life. The sub
ject at first hand would probably have been more suitable to the camera than
to the lithographer’s stone, but as arranged by Corbino it is perfectly adapted
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Lending the whole excited scene a quality of alarm
by placing the legs of the bull and the frightened horse in awkward, strained
positions, intensifying the importance ofbrute muscle by relegating the human
beings to carefully selected secondary positions, and weighting the entire
quadrangle of gray, white, and black down with a threatening and unsympa
thetic sky, Corbino has produced a lithograph which seems to live by virtue
of some vigor native to itself.