Word: colors
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Dates: during 1960-1969
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...Greeks-and Romans and Etruscans-wrought this versatile metal from 1700 B.C. onward can be seen from a display of 316 classical bronzes, covering a period of 23 centuries, selected from 79 private and museum collections by David Gordon Mitten of Harvard's Fogg Art Museum (see color opposite). The first exhibition on such a scale ever to be circulated in the U.S., the classical bronzes will be shown at the City Art Museum of St. Louis in March, later at the Los Angeles County Museum...
From Mistakes, Profit. But brutality is only one side of Bennett's musical style; in his new symphony, and in his film score for John Schlesinger's moody translation of the Hardy novel, Bennett writes with a supple sense of melodic line and quiet, iridescent orchestral color. His Symphony offers the proposition that even at the furthest limits of harmony it is possible to reach a listener with broad melodic lines and ruddy emotionality. Although it speaks the orchestral language with assurance, the Symphony is obviously the work of a man who prefers opera to all other musical...
James Albert Rosenquist, 34, the Rubens of the billboards, is doing equally well on this side of the Atlantic. The sometime sign painter from Grand Forks, N. Dak., stars this month with 32 works at the National Gallery of Canada in Ottawa (see color opposite). Gifted with pop art's most facile brush, Rosenquist was a smash with his first Manhattan show in 1962. His huge, bold panoramas combine the photo-simulated faces, glossily glamorized foods and chrome-plated gadgetry of Madison Avenue in weird compositions where objects seem to float off the canvas. In their own way, they...
...surprises is that many of the once admired esthetes look downright banal today, while several of the philistines positively shine. William Powell Frith (1819-1909) had nothing but contempt for "the crazes in art," preferred to depict "the infinite variety of everyday life." His Derby Day (center color pages) drew such huge crowds to the Royal Academy in 1858 that it had to be protected by a guard rail...
...young man's affinity for bold, large-scale works-especially from the late 19th and early 20th centuries -that glow with color and abound with dramatic contrasts. His concern is not detail but sweep and sound. He hears music with his nerve ends more than with his intellect. For this reason, he is less assured when he traces the transparent architecture of Mozart and Bach, or unfolds the subtle poetry of Schubert. Yet these are not fatal flaws in a conductor of his age. What is important is that he has the right foundation to build on. The visceral...