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...many of the best of them are to be measured in inches. You enter Price's imagination from the wrong end of the telescope. His objects don't declare themselves across the room at you. Like certain Joseph Cornell boxes, or like the tiny clay caricature heads by Daumier that so influenced Giacometti's ideas of scale they pull you close in with their bright and almost fetishistic visual promise until you have shrunk, as it were, to their size...

Author: /time Magazine | Title: Art: The Faberge of Funk | 4/13/1992 | See Source »

...such works Lautrec comes close to his idols Daumier and Goya. He would not generalize; every figure acquires a specific energy, and each countenance is its own face, not merely a mask of passion or a symbol of social role. A little bareback rider's squinched-up face above the massive, churning crupper of a stallion in the Cirque Fernando, 1887-88; the Cyrano nose and signature black gloves of Yvette Guilbert; the weird cadaverous prancing of Valentin the Boneless -- these images live on as obdurately as the traits of Dickens' characters...

Author: /time Magazine | Title: Art: Cutting Through The Myth | 3/9/1992 | See Source »

PLEASURES OF PARIS FROM DAUMIER TO PICASSO, Museum of Fine Arts, Boston. Paris in the late 19th century was a Mecca of entertainment, from cafes and cabarets to ballet, opera and theater. This exhibition captures that effervescent era in paintings, prints and drawings by such artists as Manet, Degas, Toulouse- Lautrec and Cassatt. Through Sept...

Author: /time Magazine | Title: Critics' Voices: Jun. 24, 1991 | 6/24/1991 | See Source »

...board of trustees -- that LACMA would inherit his whole collection. It got nothing. For as Hammer's belief in his genius as a collector swelled over the years, so did his demands, which became so unreasonable that LACMA rejected them. Hammer rewrote his will, picked up his marbles, Daumier and all, and walked. Now, Hammer announced, he would make his gift to the world in the form of his own museum...

Author: /time Magazine | Title: Art: America's Vainest Museum | 1/28/1991 | See Source »

...Titian, not by Titian. The Leonardo pages, installed in a sort of dim mortuary chapel of their own, look ridiculously anticlimactic. The Impressionist work is as dull as could be. And, except for the Van Gogh and one early Gauguin, so is the more modern material. Only the Daumier holdings have any depth. One is left with the impression that Hammer had no eye at all, no feeling for art; that he bought like a bad shot firing into the middle of a flock of birds and, except for a few chance pellets, missing them all. Perhaps what he really...

Author: /time Magazine | Title: Art: America's Vainest Museum | 1/28/1991 | See Source »

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