Word: artes
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Dates: during 1980-1989
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...ART...
This issue also marks the introduction of a subtle but distinct change in look, including a bolder use of photography and more graphics. These and other design alterations are the work of Rudolph Hoglund, TIME's art director for eight years, who was assisted by designers Angel Ackemyer and Colleen McCudden. The team set out not to remake the magazine but to fine-tune it visually. "One of the oldest rules in design is that form follows function," says Hoglund. "All our changes are intended to function as tools to provide more information and organize it in a way that...
Whatever else may be wrong with the late American art industry, we are living in the golden age of the retrospective exhibition. One by one, the great artists of the 19th century have been done over the past decade: Cezanne, Manet, Courbet, Van Gogh, Gauguin -- and now Edgar Degas. We may deplore the crowds at these shows, the souvenir selling, the social circus and the TeleTron tickets at up to $7.75 apiece, an outrageous tax on knowledge. Earplugs -- preferably not attached to Acoustiguide gadgets -- and yogic detachment are needed. There are, as crusty old Degas said, some kinds of success...
...been a major Degas retrospective, and probably never again will so many of his drawings, paintings, prints and sculptures be assembled in one place at one time as in the huge show of more than 300 works that opens this week at New York City's Metropolitan Museum of Art. Nor are we likely to see again such a massive scholarly effort -- literally massive: the catalog, with its essays by art historians Jean Sutherland Boggs, Douglas Druick, Henri Loyrette, Michael Pantazzi and Gary Tinterow, weighs a tad over 6 lbs. Thanks to their efforts and those of the three museums...
...idea that the goal of creative effort lay outside the field of allegory and moral precept was quite new in the 1860s, when Degas was coming to maturity as a painter. The highest art was still history painting, in which France had reigned supreme; but since 1855 practically the whole generation of history painters on whom this elevation depended -- above all, Delacroix and Ingres -- had died, and no one seemed fit to replace them. French critics and artists alike, and conservative ones in particular, felt a tremor of crisis, & as others would a century later as the masters of modernism...