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...main periods were represented. Between 1826, when Corot painted the clean, realistic Bridge and Castle St. Angela (with St. Peter's dome in the distance), and 1851, when he painted the solid sunlit Harbor of La Rochelle, Corot's art seldom revealed a trace of the feathery brushwork that later made him so rich a man and so sentimental a landscapist. This less familiar period of Corot's work is represented by 22 canvases. Only the most fanatical Corot connoisseurs will recognize in these masterpieces the painter of so many gloomy women (The Pensive Muse, The Pensive...

Author: /time Magazine | Title: Art: Nonpoisonous Painter | 11/30/1942 | See Source »

Painted with broad brushwork reminiscent of Georges Rouault's (TIME, Nov. 25, 1940), the show's 58 pictures depicted shadowy landscapes, sprawling human figures colored with the dull sheen of cast iron and stove polish. Weird, mystical canvases, as big as murals, showed mind-wrecking concepts like birth and death. Many, obscurely symbolic, writhed with brilliantly colored male and female figures, with fish and anthropomorphic bric-a-brac in a Freudian Walpurgisnacht...

Author: /time Magazine | Title: Art: Chicago's Max | 1/12/1942 | See Source »

...canvas, and after a while, it naturally became very jealous of the other paintings which were being exhibited in the same museum. Never, during its entire lifetime, had this forlorn little collection of palette-scrapings experienced the supreme thrill of receiving such adjectival orchids as "significant form," or "masterly brushwork." not once in its whole career had it been afforded the pleasure of being designated as "the work of that up-and-coming young artist from the west." And, as is often the case, there was no particular reason for such neglect; the size of the piece was just small...

Author: NO WRITER ATTRIBUTED | Title: COLLECTIONS & CRITIQUES | 3/6/1940 | See Source »

...representative works of three artists to whom this painting has been attributed. Most critics ascribe the painting to either Titian or Giorgione, but the X-rays shows that the painting is smoothly modelled, without, the boldly defined edges characteristic of Giorgione's work, or the flickering, thin brushwork of Titian. It is shown that paintings by Palma Vecchio, a contemporary of Titian and Giorgione, have marked similarity to the "Knight of Malta...

Author: NO WRITER ATTRIBUTED | Title: Exhibit at Fogg Shows X-rays | 10/27/1939 | See Source »

Artist Brockhurst's portraits have the bloom and precise brushwork of the Umbrian school of Italian painters. The figures are serene, meticulously painted against quiet-colored Tuscan landscapes of rolling hills, flowing water, umbrella pines. But posterity is in no danger of mistaking the nationality of his subjects. Brock-hurst's Americans are American, his English sitters unmistakably English. Suavest of his U. S. portraits is that of Mrs. Paul Mellon, the Vassar graduate and divorcee whom Banker Andrew's only son married in 1935.* His drawings and etchings show the same care for line and texture...

Author: /time Magazine | Title: Art: Portraitist | 10/9/1939 | See Source »

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