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Word: cubist (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Usage:

...picture that was one of the hits of the exhibition. Entitled The Month of September, it was a subtle yet straightforward portrait-done in the rich, muted colors of honey and white grapes-of a girl sitting in a walled garden with its last fruits in her lap. Ex-Cubist François Desnoyer was represented by a solidly constructed harbor picture in colors as bright and brassy as boat whistles...

Author: /time Magazine | Title: Art: New Blood | 10/17/1949 | See Source »

...calmly, in a Brooklyn accent. She was not a Communist, not a spy-simply a victim of that Victorian malady, unhappy platonic love. She had first met the Russian, Gubichev, on Labor Day weekend, 1948, in Manhattan's Museum of Modern Art. They found themselves eyeing the same cubist painting, had begun criticizing it and then had wandered on through the gallery together...

Author: /time Magazine | Title: ESPIONAGE: It Was Love | 6/27/1949 | See Source »

...European entries had variety and vigor too. France's Ossipe Zadkine contributed Menades-fragmentary fleeing figures that seemed closer to cubist painting than to most sculpture. Russian-born Jacques Lipchitz, who now lives in Greenwich Village, submitted Sacrifice, a handsomely ugly bronze of a man knifing a rooster; the disturbing thing about Sacrifice was that, stared at a while, the man began to look like a rooster, the rooster like...

Author: /time Magazine | Title: Art: Rangy Stepchild | 5/30/1949 | See Source »

...German army in 1940 and spent three disconsolate months near Toulouse. There he did the first landscapes of his career-neatly representational sketches that might have been made by an architect on vacation. Then he wandered back to Paris and spent the rest of the war years turning out cubist paintings based on his landscape sketches...

Author: /time Magazine | Title: Art: Old Toast | 5/16/1949 | See Source »

...composition, Villon's landscapes were as cubist as ever. He had broken the trees, rivers, mountains and towns of southern France into thin flakes and shavings of color, and though he obeyed the laws of perspective in applying his painted patchwork to canvas, he used different perspectives for each patch. As a result, his pictures looked rather like panoramas painted into the pleats of an accordion. Even his self-portrait appeared to have been painted on creased and crumpled paper: the self-possessed face was only half there...

Author: /time Magazine | Title: Art: Old Toast | 5/16/1949 | See Source »

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