Word: criticism
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Dates: during 1980-1989
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...only a modernist reading of the artist's role makes it seem contradictory that Goya was both a court artist and an inspired, tragic social critic. Efforts to see him in pop-Marxist terms as "an artist of the people" miss the point. Goya had many disillusioned moments, and by the last years of his life, when -- sick and old and bitterly disappointed by the betrayal of the liberal Spanish constitution at the hands of that squat reactionary King, Fernando VII -- he moved to France, they became a continuous pessimism. He never idealized the Spanish proletariat: it was el populacho...
City Councillor William H. Walsh, the council's most vocal critic of rent control, said HRE uses "a very mysterious formula" to determine the increases and that he has repeatedly "urged the rent control board to look into the situation...
Gossip columnist Liz Smith summed it up when she wrote, "Even if Trump is the truest, most flamboyant child of Mammon yet produced at this waning moment of the 20th century, I like his style." New York Times architecture critic Paul Goldberger took a graver view: "He has yet to commission a really serious work of architecture. If he has a style, it is flashiness. It's a malady of the age. Trump just represents it the most." Characteristically, Trump responded by sneering that Goldberger was unqualified to judge his buildings because he wore cheap suits...
Trump filed a libel suit in 1985 against the Chicago Tribune's architecture critic, Paul Gapp, for having written that his plan to build the world's highest building portended "an atrocious, ugly monstrosity, one of the silliest things anyone could inflict on New York or any other city." The judge ruled for the critic. Trump even sued Eddie and Julius Trump, two South Africans unrelated to him, who had run a small conglomerate for 20 years before expanding into the U.S. in the 1970s. "They're trying to use my name," said Donald, who lost a preliminary suit. Another...
Unlike the Courbet exhibition in Paris in 1977, it leaves out several of the most ambitious Second Empire paintings: A Burial at Ornans, The Meeting, The Bathers -- with its "Hottentot Venus," as one hostile critic called her, that waddling wardrobe of a nude that became the scandal of the 1853 Salon. Also missing is Courbet's "real allegory," The Painter's Studio, which hangs at the Musee d'Orsay. Such things can no longer be moved. Without them, can a Courbet retrospective make full sense? Emphatically yes. The character of Courbet the painter is richly distributed through his work...