Word: beaux
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Dates: during 1980-1989
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...Thropstock weekend, a big spring celebrationthe weekend before reading period. Includes a"no-talent" show, parties, entryway olympics withjello wrestling, and a harbor cruise. The WinthropHouse Music Society sponsors Beaux Arts Trioconcerts every year in Sanders Theater...
...loved referring to other art. "I cannot now change my style, which I acquired, as you can imagine, by dint of stubborn labor," he wrote to a critic shortly before his death. He wanted his work to be a homemade replica of the values enshrined in the Ecole des Beaux-Arts, as manifested in the big French Salon painters: Jean-Leon Gerome, Adolphe-William Bouguereau, Felix-Auguste Clement. He loved their important subjects, their grasp of the colonial exotic, their professionalism and high finish. So when artists 40 years his junior like Picasso and Delaunay paid him their semireverent homages...
These erotic scenes, replayed in countless variations by such academic painters as France's Jean-Léon Gérôme and England's John Frederick Lewis, kept the crowds coming to the shows organized by the Academic des Beaux-Arts in Paris and the Royal Academy in London. By the turn of the 20th century a host of French and English artists, and a few venturesome Americans, had been drawn by the lure of "the Orient": a term that then denoted not the Far East but the Middle East and North Africa...
...classicism of La Pittura Colta is a mere shell, and its vaunted erudition is as thin as a museum postcard. All it retains from the beaux-arts tradition is the desire to get the highlight on the Spartan's backside right-not that it always does so. It has the calm not of classical elevation but of exhausted decadence. The Venetian setting is unfair to it, for anyone can take the water-bus back to the Scuola di San Rocco and see what Tintoretto could do with the human figure. The right place for it is Las Vegas, among...
Radical though the changes have been, the word hardly applies to Pelli's design. When the original museum structure, by Philip Goodwin and Edward Durrell Stone, opened in 1939, the architectural tone of 53rd Street-and of midtown Manhattan in general-was set by brownstones, mansions and beaux-arts commercial buildings. It was a world of rich, plum-pudding surfaces. When MOMA raised its polemic International Style façade of glass and polished marble, with those futuristic Swiss-cheese holes in the roof canopy, it looked apparitional. But now the context has shifted again. Thanks to the competitive...