Word: art
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...writers worked independently to produce 21 profiles; the editors stress the absence of a predetermined formula. Appropriately, most of the writers chose to place much emphasis on the extra-musical lives of the musicians. A few well-chosen biographical details can often shed more light on the highly personal art of jazz creation than pages of technical dissection. For instance, A.B. Spellman's Black Music: Four Lives, a classic in the field of jazz literature, was conceived largely as a work of sociology. Unfortunately, The Jazz Makers is not so varied, informative, or readable as its alluring format. While...
Resurrecting the man and his oeuvre through the thin and scattered relics he left, could not have been an easy job. But it has resulted in a fascinating exhibition, 'Patrick Henry Bruce: American Modernist," now finishing its run at New York's Museum of Modern Art and due to open at the Virginia Museum of Fine Arts in Richmond on Nov. 27. It is the fruit of several years' research by Art Historians William Agee, director of the Houston Museum of Fine Arts, and Barbara Rose. As an American painter, Agee claims in his excellent catalogue, Bruce...
...prince I disdain. I am Rohan." This sublimely arrogant ancien régime motto suggests Bruce's transactions with the artists he knew in Paris. The main influences on him were Cézanne and, above all, Matisse (Bruce once lent Picasso money, but refused to take his art seriously: it was too showy and volatile for him.) His homages to Matisse never ended. Matisse's insistence on achieving structure through local color contrast lies behind Bruce's post-cubist compositions of 1916, in which he tried, not altogether successfully, to fuse color with the implied movement...
...Ford and his pal Edison in laboratories, at meetings and on outings. In some of these photos, Ford seemed attentive and alert, but Edison could be seen asleep - on a bench, in a chair, on the grass. His secret weapon was the catnap, and he elevated it to an art. Recalled one of his associates: "His genius for sleep equaled his genius for invention. He could go to sleep any where, any time, on anything...
...shot is a portrait of Chancellor Helmut Schmidt, who is thus equated with the film's opening image of Hitler. No sale. If Fassbinder wants to take such dangerous stands, he will have to abandon his facile mannerisms and arm himself with the most powerful tools of his art...