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Monet gave impressionism the dignity of classical art, though by the turn of the century he was no longer an impressionist in the sense of working outdoors, directly from the motif. Whether his canvases, he remarked, "are painted from life or not is nobody's business and of no importance whatsoever." They were in fact painted from memory-but the span of memory was as short as the walk from the pond to the studio. In his genius for rendering evanescence within a monumental structure, Monet became a master of le temps retrouvé: the most Proustian of painters...

Author: /time Magazine | Title: Art: The Old Man and the Pond | 5/1/1978 | See Source »

Jim Dales, Spence Fitzgibbons and Glenn Alexander carded a trio of 76s on the scenic seaside links that look like a Watteau watercolor spread on a rather large canvas. Alex Vik and Chip Raffi went around in 82 and George Arnold and Ron Himelman both shot 84.

Author: NO WRITER ATTRIBUTED | Title: Linksters Wallop URI, Southern Connecticut; Dale, Fitzgibbons and Alexander All Shoot 76 | 4/22/1978 | See Source »

One oil, "Twilight Figures" by Jeanette Fintz, uses unusual tones, and emphasizes tension, rather than respectful interplay of human figures. No figure faces any other in this work; the elements in the painting are held together by the boundaries of the canvas and the consistency of pigment.

Author: By Susan H. Goldstein, | Title: Bodies in Bronze and Twilight | 4/6/1978 | See Source »

Several paintings at the BVAU explore women in a sensitive and thought-provoking manner. In "Altomare," Phyllis Berman depicts women larger than life against a nearly monotone background. The emotion of the figure, particularly her hesitancy, is heightened by her dramatic angle in relation to the canvas.

Author: By Susan H. Goldstein, | Title: Bodies in Bronze and Twilight | 4/6/1978 | See Source »

But in 1970 Stella, dissatisfied with the plane surface of canvas-no matter whether its edges were an orthodox rectangle or not-began planning constructions, in homage to Russian constructivism and, in particular, its master Kasimir Malevich. Each painting (named after Polish and Russian village synagogues) was a shallow wall...

Author: /time Magazine | Title: Art: Stella and the Painted Bird | 4/3/1978 | See Source »

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