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Word: brazilianizing (lookup in dictionary) (lookup stats)
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...pictures in the Rio show are a documentary gallery of Brazilian plantation life. They also explain the steps by which Ayres is growing up as a painter, identify the bigger men to whom he is still in debt. His cubism comes from early shoulder-rubbing with modernism; having once tried to paint like Mexican Diego Rivera, he has not got over it yet. But much in the pictures is his own. Even more than imagination, the paintings show enormous sympathy for the simple laborers, sure understanding of their lives and myths. The themes of the best of them are primitive...

Author: /time Magazine | Title: Art: Brazil's Lula | 8/5/1946 | See Source »

...opening of Lula Cardoso Ayres' one-man show went off like a high-society ball, with all of Rio's granfinos present and newsreel cameras clicking. More important, handsome Lula Ayres was clearly the best Brazilian painter to come along since Candido Portinari. He had the sophistication of Rio's salons and the simplicity of the backwoods...

Author: /time Magazine | Title: Art: Brazil's Lula | 8/5/1946 | See Source »

Even after cramming all this in a twelve-minute speech, the scholarly Brazilian needed a punch line to show the delegates that they stood at a crossroad. He chose one from Empedocles: "Love or hatred-that is the question...

Author: /time Magazine | Title: ATOMIC AGE: Coke at the Crossroads | 7/29/1946 | See Source »

...dusty cattle cars, the rubber troops began their trek. Some turned out to be vagrants and rogues who brawled and thieved. Foreign-Legion-like, these seldom asked each others' names, got along with boondock handles like Negrao (Big Nigger), Bexiginha (Pock Face), and Bichhv ho (Little Bug). When Brazilian rubber officials let them go unfed, the men broke away and foraged for themselves. Soon they were met at stopping-places by town police, who threw them into stockades until the journey continued...

Author: /time Magazine | Title: BRAZIL: Lost Army | 7/22/1946 | See Source »

...elbowed each other like a musical Babel. Behind a boxed hemlock hedge a soprano and contralto sang a duet from Aida, beyond another hedge a section of cellos rehearsed the minuet from Beethoven's Symphony No. 8 in F Major. In the Music Shed on the greensward a Brazilian conductor, who spoke no English, sign-signaled a student orchestra through a too-briskly gaited Afternoon of a Faun. Koussevitzky observed: "Maybe fine conductor for Brazilian music but he needs to be teached to change approach for European music." In Tanglewood's garage, a 40-member four-part chorus...

Author: /time Magazine | Title: Music: Tanglewood, U.S.A. | 7/22/1946 | See Source »

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