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...Masterpieces" blends together paintings with intellectual pretensions and popular successes. One of the surprises is that many of the once admired esthetes look downright banal today, while several of the philistines positively shine. William Powell Frith (1819-1909) had nothing but contempt for "the crazes in art," preferred to depict "the infinite variety of everyday life." His Derby Day (center color pages) drew such huge crowds to the Royal Academy in 1858 that it had to be protected by a guard rail...

Author: /time Magazine | Title: Art: A Century of Exception | 1/19/1968 | See Source »

...folds and hollows flow into abstract compositions. "I'm not painting people," he maintains, and to emphasize this, lets the edge of his large-scale canvas lop off hands, heads or feet. "I'm dealing with what you see, how you see and how you depict what you see. The more you stare at something, the more it fills your whole field of vision...

Author: /time Magazine | Title: Painting: Return to the Challenge | 1/12/1968 | See Source »

...Family of Charles IV cleaned and rebacked with a fresh canvas. When the first layer of grime was removed the Prado's assistant director, Xavier de Salas, made a startling discovery. In the upper left-hand corner, a dark picture hanging on the palace wall turned out to depict a nude man and two seminude women. The man is caressing one woman's thighs, and his face, though youthful, dark and gaunt with the strain of the bacchanal, is, says De Salas, "Goya, without any doubt...

Author: /time Magazine | Title: Painting: A Share in the Bacchanal | 12/22/1967 | See Source »

...thought balloons, containing a photo of a nude torso, a tube of oozing white oil paint, a fungoid dream landscape with a bit of highway, a montage of Hitler in a motorcade emoting into a zebra-striped speech bubble-and a question mark. The whole is obviously meant to depict the varied factors that Whiteley believes shaped his artistic sensibility; the balloons are also signs pointing to Whiteley's belief that life is a journey to be traveled and that it is dominated by the demonic force of history...

Author: /time Magazine | Title: Painting: Plaster Apocalypse | 11/10/1967 | See Source »

...British National Theater does have one unique advantage: the star power of Sir Laurence Olivier, whose undisputed ability to depict fallen tragic heroes is matched by his less-famed skill at depicting tragicomic grotesque nobodies. Death's nobody is Edgar, an aging Swedish army captain quartered on an island. Symbolically, it is an out post of hell, an arid devil's island of an awful marriage that has lasted almost 25 years. Wife Alice (Geraldine McEwan) is a viper-vampire, bleeding her husband of self-respect. She refuses to let him forget that he never rose...

Author: /time Magazine | Title: Repertory: Best of Breed | 11/3/1967 | See Source »

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