Word: berliner
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Dates: during 1970-1979
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...that they do not know him. He has not made enough of an impression of who and what he really is." Rafshoon, therefore, has been trying to increase Carter's exposure in the press and on TV. When the President had his town meeting last month in West Berlin, for instance, Rafshoon arranged for live network coverage of it back in the U.S. After returning home, Carter held his first evening news conference in order to capture much of TV's prime-time audience. In the near future, Rafshoon plans a few televised presidential interviews. Carter and Rosalynn...
...most important art show in Europe this summer is "Paris-Berlin, 1900-1933" at the Pompidou Center in Paris. It is the second of three exhibitions designed to describe the links between Paris and three other capitals of modernist culture: New York, Berlin and Moscow. The project made a lame start with the Paris-New York show in 1977, a patchy curatorial bungle. It finds its feet with this exhibition. The theme is large: nothing less than the whole panorama of the German avant-garde in its most spiritual, subversive or idealist aspects, from the time of Kaiser Wilhelm...
...German visual art has traditionally been downplayed by a Francocentric version of art history, so that-especially for those born between 1930 and 1945- there were relatively few vivid images of a civilized "modernist" Germany to set against the overwhelming iconography of Nazi terror. Now this is changing. "Paris-Berlin" comes hard on the heels of a splendid group of exhibitions mounted in Berlin last fall by the Council of Europe under the general title "Trends of the '20s." They focused on German Dada, on the Bauhaus and its circle, and on international constructivism. "Paris-Berlin" overlaps the earlier...
...friend as the first World War was ending. "We have to finish with these weary painters of sentiment and vagueness, Cezanne, Picasso and the rest." Certainly, for the first 20 years of the century, the current between the avant-garde of the two capitals ran only from Paris to Berlin. As the German art historian Werner Spies remarks in the catalogue to "Paris-Berlin," the visits made by Henri Matisse or Robert Delaunay to Germany were "marked by a condescending paternalism," in contrast to the tentative and supplicatory visits that German artists like August Macke, Wilhelm Lehmbruck or Max Beckmann...
...wrote in 1910, four years before he was killed in battle, "each risk is the desperate and chaotic experience of a man not in command of his tongue." The principal influence on Macke was French: the paintings of Delaunay, like A Window, 1912-13, which had been seen in Berlin in 1913. Its light-filled space, saturated with color-not the sober browns and grays of cubism, but the full radiance of the spectrum from high yellow through to ultramarine, with a vestigial slice of trusswork from the Eiffel Tower rising in the top third of the painting to remind...