Word: colorings
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Dates: during 1950-1959
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...theme of an artist painting a model in a skylighted studio, had a sudden change of inspiration when he saw the huge mural panels alotted him. He switched to an enigmatic, allegorical beach scene that has proved to be one of UNESCO's major disappointments (see color pages). No help is the concrete catwalk that cuts across the delegates' lounge some 20 ft. in front of the mural, effectively slicing it in half when seen at a distance...
...statue of a teacher reading to a child there, after a while nobody would look at it." Instead, Moore fell back on Henry Moore, vintage 1938, turned out a reclining, Swiss-cheese female, carved out of rich travertine from Michelangelo's old quarry at Carrara (see color). For all its massive ten tons, it fails of monumentality, is less successful than the reinforced concrete canopy behind it that Breuer and Nervi designed as an afterthought...
...staff, which had moved in by last week, found other works more successful. A favorite was the 33-ft.-tall mobile by U.S. Sculptor Alexander Calder. Another was Joan Miró's free-standing ceramic walls (TIME color page, Nov. 3). Also widely admired was the almost-too-pretty 20th century Japanese garden, complete with arched bridge and 82 tons of imported Japanese stones, created by Japanese-American Sculptor Isamu Noguchi. Mexico's Rufino Tamayo, with his mural of Prometheus, gave viewers one of the few art works with a recognizable theme. Unfortunately...
MOSAICS OF ST. MARK'S (New York Graphic; $22.50) also suffers from a certain stuffiness of text, but its 44 big color plates are little short of perfection, do much to bring the Byzantine marvels of St. Mark's Cathedral down from the shadowy vaulted ceilings into the reader's lap. Many a tourist has stopped in Venice and visited its cathedral without ever dreaming that he stood at the heart of one of Byzantium's finest offshoots. This book should send him back once more...
FLEMISH PAINTING FROM BOSCH TO RUBENS (Skira; $25) has 112 eye-filling color reproductions, mostly good. Text contains a maximum of mere information and a minimum of thought, as is all too common with art books. The gigantic hero, overshadowing both Bosch and Rubens should of course be Bruegel, but he occupies only 22 pages out of 202, and his essential mysticism is barely hinted. But the pictures show the Bruegel, as Pliny said of Apelles, "painted many things that are really unpaintable...