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That is why, however incongruously, some Renis call to mind "classical" Picasso in the early '20s: both are parodies, Reni's part-subliminal and Picasso's wholly deliberate, of the same antique fantasy of ideal beings on the Mediterranean shore. The point is made by Reni's Bacchus and Ariadne, with its enameled colors, its air of travesty -- one doesn't believe for a second in jilted Ariadne's grief, but one does wonder what her right hand is about to do -- and its iron-butterfly stylishness. This is an idyll that makes no bones about its own artificiality. Brilliance...

Author: /time Magazine | Title: Art: The Partial Comeback of A Fallen Angel | 5/8/1989 | See Source »

...kind of naif. He had studied in Paris before World War I and was closely tied to the expatriate avant-garde there, especially Stanton Macdonald-Wright, whose "synchromist" abstractions were among the most advanced experiments being done by any American painter. In New York in the early '20s, Benton dressed (as one of his friends would remark) like "the antithesis of everything American," and had a peripheral relationship to Alfred Stieglitz and the circle of his 291 gallery...

Author: /time Magazine | Title: Art: Tarted Up Till the Eye Cries Uncle | 5/1/1989 | See Source »

...show his assimilative powers: this gripping image of hard labor, where every line reinforces the muscular twist of bodies and the thrust of the feet with their waxing pads on the floor, ultimately derives from Matisse's Dance. Troglodytic, pious and massive, Malevich's figures of peasants from the '20s both assert modernity and deny...

Author: /time Magazine | Title: Art: Canvases of Their Own | 4/10/1989 | See Source »

...Royal Academy show includes quite a lot of De Chirico's more debatable pseudoclassical work from the '20s -- this is now de rigueur, thanks to its popularity among postmodernists, who see it as a daring and prophetic form of backwardness -- as well as the paintings of his hardly less talented brother, the painter-composer-dram atist who worked under the name of Alberto Savinio and turned the late scheme of metaphysical painting into an even wilder pastiche than it had already become...

Author: /time Magazine | Title: Art: Raw Talk, but Cooked Painting | 4/3/1989 | See Source »

...police report described the two male suspects in the Fogg incident as Asian, each in their mid-20s and weighing about 140 lbs. One man, approximately 5-ft. 8-in. tall, wore a white rugby shirt, while the other, approximately 6-ft. tall, wore a blue jacket, jeans and metal rim glasses, the report said...

Author: NO WRITER ATTRIBUTED | Title: Four Attempt Theft of Fogg Sculpture | 3/21/1989 | See Source »

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