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These were the conditions under which Matisse began to produce pictures based on what he called the "methods of modern construction." Struggling to mount a personal response to the challenge of Cubism, he approached the very edge of abstraction. Things and people were reduced to concise signs of themselves, but...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

When Sunday night arrived, I dreaded turning my computer back on. I knew it meant I'd have to do work or respond to e-mails from friends and family, i.e., more work. And while the main lesson I took away from my two days is that technology is a...

Author: /time Magazine | Title: The Trouble with Going Off the Grid | 4/12/2010 | See Source »

The years right after 1913 were an anxious time for Matisse. Born in 1869, he entered his mid-40s more visible than ever in the art world, but with work that to the French was still an eyesore. Though for the first time he was making enough money from his...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

Even in his portraits, like The Italian Woman, Matisse could almost entirely transform the sitter, because he was confident that feeling in a painting was conveyed not by physical appearance or facial expression but by the sum of the impressions created by line and color. Often he began a picture...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

In 1917 Matisse relocated to Nice, in the south of France, and in much of his work over the next three decades he would return - you might say retreat - to more conventional renderings of space and form. Decades passed before other artists began to draw out the full implications of...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

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