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Jean-Paul Carlhian, the architect for Mather, had hoped to make the exterior terra-cotta tiles attached to the concrete frame by steel hooks. The tiles would have been dark brown, giving Mather's 21 story tower and three low-rise sections a dark, glazed appearance...

Author: By William R. Galeota jr, | Title: Harvard Cuts Tile to Slice Mather Costs | 5/23/1967 | See Source »

...bumper. Convinced that there was still more "beauty to be extracted from it," he bought it for $1 -much to the amazement of the garage owner, since the Seleys' car was a Chevvy. Seley, who at the time was casting Henry Mooreish semi-abstracts in plaster and terra cotta, began using bumpers as armatures, covering them with plaster, then casting the result in bronze or aluminum. By 1959, he had decided it was "a sacrilege to cover the beautiful bumper form," began working with the armature alone...

Author: /time Magazine | Title: Sculpture: Constructions in Chrome | 3/10/1967 | See Source »

...15th century Italian noblewoman whose features were probably also the inspiration for the terra-cotta bust-attributed to either Verrocchio or Leonardo-bought for $225 last month by Manhattan's Metropolitan Museum (TIME...

Author: /time Magazine | Title: The Market: Gambit in Graustark | 12/3/1965 | See Source »

Green Bird. Most of the artists created new works for the museum, and they came to the opening to purr over their work. Miró built a cluster of giant terra-cotta and cement sculptures, including a huge green bird, a giant pitchfork, and a Miró-size ceramic egg in a pool. As the opening festivities for 150 select guests wore on into the flower-scented twilight, he could not tear himself away and sat on a wall, clucking like a proud hen: "Look at that egg! It's the largest egg in the world...

Author: /time Magazine | Title: Museums: A Place on the Riviera | 8/7/1964 | See Source »

Especially appealing: William Blake's watercolors (through May 24), Houdon's perfectly balanced terra-cotta sculpture of Diana the Huntress, Bellini's St. Francis in Ecstasy, Holbein's Sir Thomas More, La Tour's Education oj the Virgin, Fragonard's series of canvases representing "The Progress of Love," commissioned and rejected by Madame Du Barry...

Author: /time Magazine | Title: Art: Art in New York: may 8, 1964 | 5/8/1964 | See Source »

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