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Young prodigies in art are as common as seagulls; the rarities are old. A special aura clings to the late works of old men who can sum up a lifetime's deposit of knowledge in a final burst of invention. One thinks of Rembrandt's late self-portraits, of Titian at 90 or Bernini at 75; or, in our century, of Henri Matisse, who died in 1954 at the age of 85. The last two decades of his life were increasingly spent on making works in paper. Ensconced in the south of France, first at Nice and later...

Author: /time Magazine | Title: Art: The Sultan and the Scissors | 9/19/1977 | See Source »

...star has made him a wanted man, but it has also made him a minor celebrity, since a television news team happened to be on the scene when the fight occurred. Moreover, his prison record gives him-in the C. and W. world anyway-a suitably romantic aura. Tina arranges for him to do the things that any pop singer does to promote a record - tours, disc-jockey interviews. But before each appearance, she tips off the cops, timing the call so that they arrive too late to catch Bobby but in plenty of time to allow for a colorful...

Author: /time Magazine | Title: Cinema: Mock Heroics | 9/5/1977 | See Source »

Kissinger's record is now used by world leaders and domestic critics to measure Carter. To perhaps an alarming degree, the White House tries to contrast its policy with that of the former Secretary. But the aura lingers...

Author: /time Magazine | Title: THE PRESIDENCY by HUGH SIDEY: Henry: Watching, Waiting, Worried | 8/8/1977 | See Source »

...cruised around Washington during Inaugural week in a black Cadillac bearing special license plates with BERT on the front bumper and LANCE on the back-might be the first man to go. Last week Bert Lance was rapidly becoming an embarrassment to the Administration, a threat to its whole aura of stern moral probity, and the target of an investigation by the U.S. Comptroller of the Currency...

Author: /time Magazine | Title: THE ADMINISTRATION: The Sharperning Battle over Bert Lance | 8/1/1977 | See Source »

...Slowly, the moody aristocrat in 1900, the murderous psychopath in Taxi Driver, the elegantly upholstered movie mogul in The Last Tycoon, or the jazzed-up saxophone player in the newly released New York, New York. For that matter, none of these characters looked much like another-except for the aura of intensity under tight control that they share with their creator. De Niro's eerie ability to fine-tune his diverse screen appearances while blurring his own may have added to his undeserved reputation as a Garboesque recluse. De Niro does not avoid the public; the public generally does...

Author: /time Magazine | Title: Show Business: De Niro: The Phantom of the Cinema | 7/25/1977 | See Source »

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