Word: belgians
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...Europe was stunned. Said French Foreign Minister Michel Jobert, who later in the week accompanied President Georges Pompidou on a state visit to the Soviet Union: "Kissinger does not understand Europe." In Bonn, a ranking German official complained: "Now we have a cold war between America and Europe." A Belgian official advised Europe to "try to behave, publicly at least, as if we did not hear Kissinger's remarks...
...desirable to most European leaders. They are not in the mood for the arduous tasks of adopting a common currency, formulating joint defense and foreign policies, or agreeing on a multilateral energy program. There is no longer a convergence of national interests among West European nations. As a top Belgian Foreign Ministry official noted last week, "The Germans no longer need Europe, not even economically for its large markets. The French are convinced that any new progress toward unity will only mean a loss of the economic and political advantages they have already won. The British government knows that...
...past, no precedents beyond the immortal, irrational desires of the human psyche. But one of the rules-of-thumb of art experience is that very little is wholly new. Witness, for example, the current exhibition at the New York Cultural Center entitled "Painters of the Mind's Eye: Belgian Symbolists and Surrealists." It offers, as well as 51 major works by Paul Delvaux and the late Rene Magritte, a tour of such virtually forgotten talents as Fernand Khnopff, William Degouve de Nuncques, Jean Delville and Xavier Mellery. Delvaux and Magritte are of course 20th century surrealists. The less-known...
...main debt Belgian surrealism owed to the 19th century was, however, one of mood. Whether the artist was Degouve de Nuncques painting a strange, silent forest and a Magritte-like nocturnal house, or Khnopff giving a foretaste of the deserted townscapes of surrealism with his drawing of a city abandoned to the sea, or Leon Spilliaert producing a haunted self-portrait, the images constantly predict the sense of solitude and disquiet in which surrealism reveled...
Equal Reality. Thus every detail of the moldings, mullions and floorboards in The Invisible World, 1954, is rendered with scrupulous, not to say stolid exactitude: it is a real room looking on a real sea in (one imagines) some provincial resort on the Belgian coast. But what is that boulder doing there with every pore and crack of its surface emulated in Magritte's slow, gray pigment to remind us of its equal reality? It is intolerable: no metaphor provides an exit, no rational explanation will do, while the very technique of Magritte's drawing and painting keeps...