Word: cubists
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...Michelangelo to be able to match this experience," raved one Rotterdam critic. Dutch Sculptor Leo Braat said, "This work is anything but a play of forms; it is an act of faith, a revelation.". In Basel, Switzerland, where the exhibition opened last month, critics greeted Lipchitz as "the greatest cubist among sculptors." Ahead for the show lie Munich, Dortmund, Brussels, Rome, Paris, London...
People First. The possibilities of irreplaceable loss to the art world were monstrous. On the museum's ground floor was a special on-loan show of 63 paintings by the late Cubist Painter Juan Gris. In the gallery above the fire hung more than 150 works by famed 19th century French Pointillist Painter Georges Seurat, including four of his seven major canvases, lent by U.S. and European collectors (TIME, Jan. 20). Only one closed fire door stood between the acrid smoke and scorching heat and the pick of the museum's permanent collection, richest and choicest trove...
...building's parasol roof. Le Corbusier indignantly photographed the grease spots left by the cars beneath his splendid arches, and snapped: "What sort of judges are these who do not obey the traffic laws?" Five of the eight judges decided that they did not like the abstract cubist tapestries Le Corbusier designed for their courtrooms, had them hauled down. "They should confine themselves to being judges of law," growled Corbu, "not set themselves up as judges...
...style seemed more surely dead and buried than Art Nouveau, the turn-of-the-century vogue for flowing, whirling motifs and gingerbread gewgaws. Thrown out by cubist artists who viewed such effulgent detail as a bad case of artistic warts, and banned by the stripped-down school of Bauhaus modern architects, the movement that once spread across Europe and to the U.S. had been dormant for decades. Now there is new interest in Art Nouveau-particularly among the strongest proponents of modern art and architecture...
...morning in 1918 he turned his wide back on the moderns. "I was just coming out of a cubist show," he said later, "when a fruit vendor passed in front of me in the sunshine, pushing a little wagon full of peaches. The sight was so much more beautiful than all those dry, thin abstractions inside the gallery. It made me want to paint the richness we can see and feel." He went to Italy, where the Renaissance had spread its richness across acres of church and palace walls. Inspired by Giotto, Uccello and Andrea del Castagno, he resolved...