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...Some were not even painted during the lifetimes of the artists to whom they are attributed," wrote Wildenstein. Among others, he named two so-called Claude Lorrains, a Boucher, a Watteau (which he described as "flea market quality") and a Courbet. As for the portrait of Ingres by David, "It is not by David and does not represent Ingres"; in fact, in 1796, it was exhibited as a work by Constance Mayer. Says Wildenstein, who consulted his reference library of 300,000 books before speaking out: "The Russians are simply making fun of us with this exhibit...

Author: /time Magazine | Title: Collections: Red Faces at the Louvre | 10/29/1965 | See Source »

...Fauves, and even the cubists, only to abandon each. He rejected the romantic concept of the artist in smudgy smock and flowing cravat, abhorred the veneration of art given to official "masterpieces," decided that "oil painting is old hat and should be discarded forever." As the naturalists of Courbet's day had proved that anything could be a subject for art, Duchamp set out to prove that art could be made of anything. By taking all kinds of man-and machine-made objects, from bottle dryers to plumbing fixtures, removing them from their context, and exhibiting them...

Author: /time Magazine | Title: Artists: Pop's Dado | 2/5/1965 | See Source »

Sisley gradually moved away from this Courbet-like realism, and the work he did in the 1870s has usually been considered his best. In the Aqueduct at Marly his palette was open, his brush light and sure. Sisley never played rough with nature, nor did he like to intrude too far upon its secrets. While Monet atomized the sun, Sisley let it wash gently over his scenes, neither searing nor dazzling...

Author: /time Magazine | Title: Art: Minor Master | 11/10/1961 | See Source »

Unnerving Mood. Despite such distinguished tutelage. Balthus chose to find his chief mentor in the 19th century realist Gustave Courbet, who said: "Create a suggestive magic that contains both the object and the subject, the world outside the artist and the artist himself." But Balthus was also entranced by the surrealists' probings into the unconscious. He painted streets, landscapes and people, all arranged in a well-thought-out design, all strangely still and silent, all a little unnerving in mood...

Author: /time Magazine | Title: Art: THE LONELY CROWD | 5/12/1961 | See Source »

...accent was American; only a handful of artists-notably Delacroix, Courbet and Renoir-were foreigners, and almost all came from Bouvier-land. For the rest, along with Mary Cassatt, John Audubon and Childe Hassam, there were some art ists who had scarcely been heard of for years. A former naval person like the President would understandably favor a seascape by James Bard. But a Mount Monomonac by the sentimentalist Abbott Thayer, who died in 1921, or a portrait of Queen Victoria by the stodgy Franz Winterhalter, whom Ruskin dubbed a "dim blockhead," were plainly special tastes...

Author: /time Magazine | Title: Art: The Jacqueline Touch | 4/14/1961 | See Source »

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