Word: artes
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Dates: during 1960-1969
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There is no more celebrated living art ist in Italy than Giacomo Manzù. At 60, he is renowned throughout Europe for his stately cardinals, his great bronze doors of St. Peter's in Rome, and his role as friend, confidant and portraitist of Pope John XXIII. It was altogether fitting, then, that this summer Manzù should become the only living Italian art ist to have a museum dedicated to his work alone...
This summer, for the first time, the clerics' portraits have been put on public display at the Philadelphia Museum of Art, where they are supplemented by loans from the Jefferson Medical College and the museum's own large Eakins collection. The series remarkably underscores the rock-bottom honesty that Whitman had observed. Eakins plainly was not inhibited, even by men of the cloth, in his relentless pursuit of pictorial truth. Though his portrayals are sympathetic, he uncovered strain, doubt, fear, pettiness and self-pity -qualities that belied the traditional view of the priesthood as a calling above...
...couldn't tell anything from this mill of sounds made by these esthetes of rock. Then there came a cry for primitivism, and you started hearing rock 'n' roll-a name that had been unfashionable-as opposed to rock, which had the stigma of art music...
Died. Robert Lehman, 76, investment banker, senior partner of Lehman Brothers and one of Wall Street's most powerful figures; in Sands Point, N.Y. Born to wealth, "Bobby" Lehman might have devoted his life to art collecting and horse breeding, both of which he loved, but his greatest enthusiasm was for high finance-and for 48 years he multiplied his family firm's prestige and fortune. He was one of the first to see the enormous potential of aviation, helped bankroll the beginnings of American, Pan American and Trans World Airlines. He was a friend to retail merchandising...
Furtively and cryptically. Mayer has begun to explore his obession with illness and death. It is a measure of the terror of the obsession itself that from the perspective of good health and at the distance of art Mayer still confronts the horror obliquely--through understatement, burlesque, and nonchalance. But do not be misled by these devices into doubting the seriousness of Mayer's purpose. The wail of fear drones in the songs (some of which, like "Cat Scratch Fever," recur in his shows as anthems), in the abruptness of the pacing and in the roller-coaster whirling...