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...than the Holladays? Perhaps, but none that got their own museum. It is short even of major works by women whose historical significance has been admitted for decades. Its inaugural show, American Women Artists 1830-1930, consisted mainly of loans; but even so, except for some paintings by Cecilia Beaux, Romaine Brooks and, of course, O'Keeffe, it was a dull florilegium of derivative kitsch. Who would waste ten minutes on these sub-Sargent portraits, these mincing imitations of Childe Hassam, these genre scenes crawling with dimpled rosy brats, if they had not been painted by American women? And what...

Author: /time Magazine | Title: Art: How To Start a Museum | 8/10/1987 | See Source »

...Maginot Line or perhaps the Valley of the Kings -- a set for an Italian production of Aida. Not so: it mediates beautifully between the almost incomprehensibly large space of Laloux's vault and the scale of one's own body. It retains all that was most benevolent in beaux arts grandeur -- the reassurance offered by architecture that the individual is the reason for the state. And every part of it is functional: the detached facade wall of each terrace, for instance, is also a thick screen that carries the ducting needed to circulate 8 million cubic meters of conditioned...

Author: /time Magazine | Title: Art: Out of a Grand Ruin, a Great Museum | 12/8/1986 | See Source »

...with the general public, which is sure to love it -- is the amount of space given to so-called pompier art of the Third Empire. (Pompier means "fireman," and the allusion is to the heroic nudes with Greek helmets, resembling the casques of the Paris fire brigade, that infested beaux arts academic painting.) Cachin and her colleagues have dredged up an astounding panoply of period kitsch, from 1850s imitators of Ingres through Bouguereau to what must be the most obsessively pederastic elocution in all art history, Jean Delville's School of Plato, featuring Alcibiades and his willowy friends yearning like...

Author: /time Magazine | Title: Art: Out of a Grand Ruin, a Great Museum | 12/8/1986 | See Source »

Perhaps the GSD's most significant contribution has been by way of example. When the GSD was founded, American buildings were primarily done in the Beaux Arts style, a mish-mash of the architectural conventions of the past. Working architects were well aware of the International Style, thanks largely to the efforts of the Museum of Modern Art. Nevertheless, there was considerable resistance to it, both by clients and architects unfamiliar with the style, and unimpressed by what they had seen...

Author: By Cyrus M. Sanai, | Title: America's Tower of Architectural Power | 9/18/1986 | See Source »

Perhaps the GSD's most significant contribution has been by way of example. When the GSD was founded, American buildings were primarily done in the Beaux Arts style, a mish-mash of the architectural conventions of the past. Working architects were well aware of the International Style, thanks largely to the efforts of the Museum of Modern Art. Nevertheless, there was considerable resistance to it, both by clients and architects unfamiliar with the style, and unimpressed by what they had seen...

Author: By Cyrus M. Sanai, | Title: America's Tower of Architectural Power | 9/7/1986 | See Source »

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