Word: cubists
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...monumental structure of Cezanne's Portrait of Jules Peyron and Rocks at Bimemus, wedded with all the warmth of bristling light, comprises the quintessence of this classic vision. And an early, analytical-cubist Picasso landscape, with its shimmering greys and silvers, shows how formal structure at its purest and most abstract can be fully as moving as more extroverted emotion...
Wagner's book covers the various fields of Lewis' attacks with scholarly care. Lewis' distaste for democracy ("a democracy necessarily is a corrupt and disorderly type of government") and his sporadic enthusiasms for fascism are well discussed, as are his quarrel with the cubist school of painting, his feud with Joyce, and his vigorous anti-Bergsonism. His own books are also discussed in considerable detail...
...Jacques Lipchitz, 65, who was born in Lithuania, came to the U.S. from France in 1941 (and became a citizen two weeks ago), falls somewhere between Lardera and Manzu. He has long since left his cubist period behind, and his work has become much more lyrical and expressive. Since his early days, Lipchitz has liked to shape his ideas in wax or clay, then cast them in bronze or transfer them into stone by hiring a stonecutter to do all the work except the finishing touches. His latest work, on exhibition last week at Fine Arts Associates, is a series...
...Chess. All three were caught up by the cubist excitement, but Marcel was the first to have his doubts about the movement ("too exteriorized"). In 1912 he tried using a technique borrowed from the cinema to add movement, painted his King and Queen Surrounded by Swift Nudes (opposite) to show off his theories. His Chess Players is a conventional impressionist study of his two bearded brothers (Raymond, left; Jacques, right) with their wives in Puteaux. In 1923, after a few zestful years as a leader of the Dadaists (see below), he decided to give up painting for good in favor...
Calling himself a "cubist impressionist," Villon progressed from his 1913 attempt to render cubist rhythms in Soldiers on the March to his lime-cool portrait of his notary father (opposite), who supported Villon's painting efforts off and on for 30 years. Villon, having refined his palette to the utmost, "touched the earth once again" by returning in 1940 to the vibrant countryside of southwest France. Part of his latest harvest: his superb pastoral illustrations for Virgil's Eclogues (TIME COLOR PAGES, June 6, 1955). Today, at 81, the holder of nearly every award the art world...