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...when Gropius was appointed as head of the architectural program, the International style received in one stroke the legitimacy it had previously lacked in the United States. True, during this time it was Ludwig Mies van der Rohe, another refugee from the Nazis and a former student of Gropius, who would design the greatest edifices of Modernism according to his famous formula "less is more." But it is doubtful that his buildings would have been so rapidly acclaimed without the implicit approval of Gropius and the Harvard name...

Author: By Cyrus M. Sanai, | Title: America's Tower of Architectural Power | 9/7/1986 | See Source »

...going to go around and point out buildings and cornerstones," says Henry G. Van der Eb '42, chairman of the Harvard College Fund. "I'm going to be enjoying myself...

Author: By Laurie M. Grossman, | Title: No Presents, Please | 9/5/1986 | See Source »

...imagine many people coming away fromthe 350th without anything but a warm feeling forthe institution," says Van der...

Author: By Laurie M. Grossman, | Title: No Presents, Please | 9/5/1986 | See Source »

Ever since Richard Wagner first staged his Der Ring des Nibelungen at Bayreuth in 1876, producers, directors and set designers have been trying to figure out how best to present his sweeping 16-hour cycle. Wagner set the first production in timeless, mythic German prehistory. In his revolutionary postwar interpretation, the composer's grandson Wieland emphasized the influence of Greek drama on Wagner's aesthetics. French Director Patrice Chereau detected a 19th century Marxist dialectic at work with his controversial 1976 Bayreuth staging, while Set Designer Pet Halmen and Director Nicolas Joel used aspects of Kabuki drama in their recent...

Author: /time Magazine | Title: Music: Of Carrousel Horses and Claws | 8/18/1986 | See Source »

...flair for creating maestrohood from a succession of scandals; Kokoschka was one. Almost from the moment he left art school he assumed center stage in the Viennese avant-garde, enacting its fixations on love and death, abandonment and deviancy. Painting apart, he worked hard to earn his nickname "der Tolle" (the crazy man). George Grosz remembered him at a ball in Berlin, gnawing on the fresh and bloody bone of an ox. He sometimes hid among the waxworks of criminals in the chamber of horrors of the Berlin Panoptikum, and sprang out with a howl to frighten the visitors. These...

Author: /time Magazine | Title: Art: In London, A Visionary Maestro | 7/21/1986 | See Source »

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