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...Boucher...

Author: NO WRITER ATTRIBUTED | Title: Cambridge | 10/4/1973 | See Source »

...doubt Goncourt would have been pleased to find how durable this class of sexual object turned out to be. Pink and proletarian, tousled, complaisant and rather nitwitted, she persisted as the Ideal Mistress (counterpart to the Fatal Woman) well into the 20th century. Her ancestors are the nymphs of Boucher. Her descendant-spoiled by independence, but still embodying the fantasy of the naughty French chambermaid-is Brigitte Bardot...

Author: /time Magazine | Title: Art: Arcadia Reconstituted | 2/5/1973 | See Source »

...some degree, in terms of his aims. He wished to construct a universe of plea sure and relaxation - like Matisse's "armchair for tired businessmen," but more so - and in this he succeeded. He was the natural heir of the finest decorators of the 18th century, Fragonard and Boucher. "He who has not lived be fore the Revolution," said Metternich, "cannot know the sweetness of life," and Renoir's spiritual home was built before 1789. Almost from the start of his career, Renoir's technique and sense of construction were superb: witness the sober, Venetian expansiveness...

Author: /time Magazine | Title: Art: Arcadia Reconstituted | 2/5/1973 | See Source »

...look good, but they are not easy to wear-at least initially. Men must take shorter steps than most of them are used to and be careful not to stumble while climbing steps or catch their heels riding escalators. "It's a whole new trip," says Maurice Boucher of L.A.'s Vibrations Boot Parlor. "Men have never had to think about changing their style of walking or sitting or even driving a car." To ease the transition, many store owners recommend that their customers wear a 2-in. heel before stepping up to anything higher...

Author: /time Magazine | Title: Modern Living: The Elevated Look | 8/21/1972 | See Source »

Claude Chabrol, who excels at tightly disciplined exercises in suspense (This Man Must Die, Le Boucher), seems himself to be going momentarily delirious in Ten Days' Wonder, where tension and insight are subordinated to sorry stylistic flamboyance. Chabrol's camera swoops about like a dizzy flamingo, descending from great altitudes to light on such still lifes as a garden, a pond or two naked lovers entwined in the green leaves...

Author: /time Magazine | Title: Cinema: Out of Control | 5/15/1972 | See Source »

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