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Rock-Hard Canvases. Vlaminck did his best oils in 1905 and 1906, when he lived in the small Seine-side Paris suburb of Chatou. The burly, Belgian-descended artist had been a professional cyclist and cabaret violinist who taught himself to paint. In later years, he recalled: "I was a barbarian, tender and full of violence. I translated by instinct, without any method." In fact, his method of squeezing colors directly from the paint tubes onto the canvas was largely inspired by viewing the Van Gogh exhibition of 1901. In addition, portraits such as L'Enfant Madeline betray...

Author: /time Magazine | Title: Painting: Fleeting Fauve | 5/24/1968 | See Source »

Grandma's Duster. What she did instead was speculate and compare her experiences with experiences in her past. "Jouncing along a highway deeply pitted by pellets from cluster bombs made me think of my childhood: bumpy trips in northern Minnesota; Grandma in a motoring hat and duster; and how...

Author: /time Magazine | Title: The Press: Tea at the War Crimes Museum | 5/24/1968 | See Source »

Samaras traces back his fascination with rooms to youthful visits to Manhattan's Metropolitan Museum, where he used to stand entranced in the period rooms. "There was no reference to today," he recalls. "You were overwhelmed, even seduced, into a past age." His mirror rooms fulfill a similar function...

Author: /time Magazine | Title: Exhibitions: On All Sides | 5/3/1968 | See Source »

When the Bolshoi Opera crossed the Atlantic last year to Montreal's Expo 67, it lugged along 95 choristers, 48 soloists, 99 instrumentalists, 50 dancers, 127 staff assistants, 193 tons of scenery and five tons of Russian edibles. When Rome's Piccolo Teatro Musicale arrived in Manhattan last...

Author: /time Magazine | Title: Music: Pioneering the Old | 4/26/1968 | See Source »

...increase the tension of his flaring abstract forms, Youngerman recently abandoned historically approved vertical or horizontal canvases, began experimenting with diamond shapes. He finds that they have a symmetry of their own, and also create "relationships between the image and limit of the canvas in a satisfying way." Nonetheless, unlike other painters working with unconventionally shaped canvases, Youngerman still believes that "the shape is secondary to the image on the canvas. Some people think that abstract painting is dead. I think it's hardly been explored...

Author: /time Magazine | Title: Painting: Hashish Amid the Smog | 4/26/1968 | See Source »

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