Word: art
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Dates: during 1950-1959
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...devout Athenians to the temple of Pan near the farmer's shack; their animal "sacrifices" always turn out to be raucous sheep barbecues with only the bones left for Pan. Horizon's translator (and chief editorial adviser) is Glasgow-born Gilbert Highet, the lively author (The Art of Teaching) and classicist who teaches Greek and Latin at Columbia University. It took him a week to translate the play's six-beat Greek iambics into six-beat English iambics...
...Margutta ( "too expensive and too phony") Work for Kicks. There are an estimated 500 U.S. painters, sculptors and writers in Italy today. Living on shoestring savings and slim scholarships (average annual grant: $2,500 to $3,000). most are trying to stretch their pennies into more time for their art. They have nothing but scorn for their beatnik contemporaries of San Francisco, and they cold-shouldered shaggy, beatnik Poet Gregory Corso. who stormed into Rome recently bawling...
former Princeton football player ('52) and writer: "They have missed a fundamental aspect of American life-work." Most of the U.S. artists are drawn to Rome because it is cheaper to live there. Their down-to-earth approach is reflected in their art: painting includes recognizable images, sculpture often mirrors the human form, prose and poetry tend to be lucid, coherent and direct. Few have qualms about accepting commercial commissions. Cracked one sculptor: "For a thousand dollars I'll do a head of grandma -guaranteed to look just like grandma!" Wives for Models. Typical of Rome...
...months-long alcoholic bouts. But as an artist he believed in being both cool and controlled, recommended billiards as a fine training for any beginner. "On that green surface and within that frame." Carles said, "he will find the equilibrium, symmetry, triangulation, direction, motion and restraint of all art...
Like most painters. Carles hoped for public confirmation that his new abstract direction was valid. In the socially conscious U.S. art world of the 1930s, such confirmation was not forthcoming. (In 1936 Leger visited him in Philadelphia, was amazed to find "anything like this going on in America.") Carles began painting and repainting the same canvases until they were too heavy to lift. The World War II migration of Paris painters -Chagall, Mondrian et al.-to Manhattan finally produced the understanding audience Carles longed for, but it was too late. In 1941 Carles suffered a stroke, and though he lingered...