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About the same time he married, Erpf decided that he had to have a maze on his 500-acre property in the Catskills. And not just a collection of decorative hedging either. He called Michael Ayrton, a maze-mad English sculptor, architect and author of The Maze Maker, a fictional autobiography of Daedalus. "I just read your book," said Erpf. "I want one of those." Today, thanks to Ayrton, Armand Erpf has "one of those...

Author: /time Magazine | Title: Aesthetics: Knossos in the Catskills | 8/15/1969 | See Source »

...MICHAEL AYRTON Essex, England For the real male minotaur, see above...

Author: /time Magazine | Title: Letters: Mar. 26, 1965 | 3/26/1965 | See Source »

There still are those who adhere to the permanence of cast metal. Michael Ayrton, 44, has painted for 29 years, but Moore got him to sculpt as well. Impassioned by Greek mythology, he wonders "what happens when you are partly animal and want to become wholly human." He makes his misshapen minotaurs, therefore, into symbols for man's stressful present. Bernard Meadows, 50, who assisted Moore from 1936 to 1939, also produces bronzes suggestive of figures withdrawn into abstraction. Tough, crablike carapaces cover highly polished softer forms like defenses for a vulnerable humanity...

Author: /time Magazine | Title: Sculpture: Intellectuals Without Trauma | 3/12/1965 | See Source »

...mantelpiece of the highceilinged drawing room in London stood a bronze minotaur by Sculptor-Painter Michael Ayrton. On the walls hung two early canvases by Sidney Nolan. Novelist C. P. Snow leaned forward on the edge of a sofa, planted his elbows on his knees and lit a Senior Service...

Author: /time Magazine | Title: Professors: Two Cultures in the Corridors | 11/20/1964 | See Source »

Bavicchi's Sonata for violin and Piano (1956) received a well-nigh definitive performance at the hands of Ayrton Pinto and Jacqueline Young. The three movement work is admirably written from the stand point of idiomatic instrumental technique. But the outside movements, despite their fast tempo and apparent busyness, indulged in series of effects and cliches, with a resulting lack of cohesion; the finale seemed to be a chain of rousing stretta-like conclusions without a beginning or a middle. Slow movements are normally a major stumbling block for modern composers, even the established ones, but here Bavicchi had much...

Author: By Caldwell Titcomb, | Title: New Music | 3/29/1957 | See Source »

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