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When he had painted all the blue pictures he wanted to paint, Picasso immersed himself in the life of Paris, went to the circus once a week and to prize fights with two new, tall, stalwart friends: Painter Andre Derain and Poet Guillaume Apollinaire. Working more during the day, in 1905 and 1906 Picasso poured out the pictures of the Rose Period: —robats, harlequins, companies of jugglers and players all painted with a wistful delicacy and long-boned grace. By 1907 he had been sufficiently housebroken to go to the Stein "at homes...

Author: /time Magazine | Title: Art: Art's Acrobat | 2/13/1939 | See Source »

...many serious and hauntingly gifted paintings, and for at least ten years has been sober as a church. The Life & Love was accordingly branded "A tissue of lies, calumnies and erroneous or tendentious information" in a manifesto issued by 54 furious artists and critics, including such noted names as Derain, Picasso, Kisling...

Author: /time Magazine | Title: Art: Point, Lies, Insult | 12/12/1938 | See Source »

Goldwater shows that Derain. Vlaminck and Matisse themselves borrowed little from such...

Author: /time Magazine | Title: Art: Two Clear Ones | 11/28/1938 | See Source »

...finest, cagiest and laziest painters is André Derain. His Por of Catherine Hessling, in the Chicago Institute, and his landscape. Southern 'in. the Phillips Memorial Gallery Washington, are perhaps the two most jobs of their kind owned in the S. A big, bland Frenchman with a love of fast automobiles (he owned five), a facile mastery of tech and a cold Norman disinclination to commit himself to artistic movements, 58-year-old Derain is France's particular among the moderns because he car on the glories of French tradition...

Author: /time Magazine | Title: Art: Surprise | 11/21/1938 | See Source »

Last week Manhattan hopefuls crowded into the Marie Harriman Gallery to see Derain's two latest and largest works. Both were surprises, though only one was so entitled. In each, somewhat creasy and abundant nudes in classical attitudes were disposed on emerald greensward against a lush mysterious background. La Surprise, even more than Dans la Clalrière, suggested a Titianesque tableau in the golden lighting on the figures, a tracing of Rubens in the figures themselves. Though the smooth crispness of painting, the linked, rounding volumes of the design were the work of a major talent, serious visitors...

Author: /time Magazine | Title: Art: Surprise | 11/21/1938 | See Source »

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