Word: cubists
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...Hawser. The present retrospective in Paris, of Miró's work, organized by the French Ministry of Cultural Affairs at the Grand Palais (through Oct. 13), is for all practical purposes definitive. It contains some 350 works, including last year's sculptures and beginning with early cubist-influenced paintings. One striking example is the superb Nude with a Mirror-solid as a column with those interlocking planes of pink flesh, the Khmer eyes, the thick hawser of plaited hair, and perched on a hassock whose needlepoint butterfly sums up Miró's pleasure in decorative enumeration...
...with which he was fully at home: the still life. Still life was the test bed of cubism-the static arrangement of homely objects, a glass, a bottle, a bowl, a newspaper, some cards or grapes, which could bear all the twisting and rotation and chopping that the cubist eye demanded. With a few rare exceptions, like Picasso's famous portrait of Kahnweiler or Gris's 1912 portrait of Picasso, the human figure, mutable and livery and emotionally expressive as it is, was not the ideal cubist subject. Distortion of the face or the body becomes a sort...
...party of more than a thousand Texans. It is the fourth museum building by a leading international architect to rise in Texas in the past year (the other three are Louis Kahn's barrel-vaulted Kimbell Museum in Fort Worth [TIME, Jan. 15], Philip Johnson's white cubist Art Museum of South Texas in Corpus Christi and Edward Durell Stone's stark brick Amarillo Art Center). Certainly the Mies building is the most problematic- an anthology of his vices and virtues...
...make a painting on the same subject that was a long way from being naturalistic." It was a way from which no traveler returned. Nude Descending a Staircase was at once the scandal and centerpiece of exhibitions from Paris to New York. The work was no mere rendering of cubist theory. It was mechanistic, sensual and impudent. It held nothing sacred−not even iconoclasts. Thus Nude performed the heroic task of simultaneously galling public, critics and the avantgarde. At the New York Armory show a reviewer spoke for his fellows when he described it as an "explosion...
Looping and chopping its way through the repertory of shorthand for the human face and figure that he himself had developed decades before, Picasso's brush encountered no resistances. The twisting and displacement of a torso or an ear, the mock-cubist overlapping and profiling related to nothing except earlier paintings that he had made but seemed to have half forgot ten. The drama of assimilation, of that prehensile eye clawing at the world's very guts, dissolved. He ran out of subjects and fell back as never before on stock dummies - troglodytic clowns and kidney-profiled women...