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Warts and All. Hemingway's motto was "l faut (d'abord) durer" (One must, above all, endure). He was relaxed, fulfilled, only when writing well or when life's hostilities were out in the open-during war. "Having a wonderful time!" he wrote friends after his baptism of fire as a World War I ambulance driver. As a correspondent in World War II, he reiterated: "I love combat." Baker suggests that Hemingway's "esthetic of pleasure and pride" in "killing cleanly" may have been applied to war as well as the hunt...

Author: /time Magazine | Title: Books: Ernest, Good and Bad | 4/18/1969 | See Source »

...book is superbly laid out and filled with delightful engravings "from the pens of such European artists," the end flap tells us, "as Granville and Durer along with numerous other unsigned works of the same genre." The other endflap tells us that Mr. Lipton is a playwright, actor, equestrian, jack-of-all-trades...

Author: NO WRITER ATTRIBUTED | Title: An Exaltation of Larks | 1/29/1969 | See Source »

...little more than four hundred years ago Albrecht Durer made a portrait of Erasmus but felt it necessary to protect himself by putting an inscription right in the painting: "If you really want to know what the man Erasmus is like, read his books." A book, either by or about the man, would give information gathered over a longer period than the interval presented in a single picture...

Author: By Mark L. Rosenberg, | Title: The Portrait in Photography: 1848-1966 | 4/17/1967 | See Source »

Janssen's savage and savagely portrayed world is in many ways familiar. The lineal ancestry of brutish whores and demonic cripples, bloated dwarfs and twisted drunkards, perverted bourgeois and browbeaten soldiers can clearly be traced back to Durer and then down through George Grosz. In his wispy cloudlike sketches and pastels lurks the orchidaceous venom of Odilon Redon. In his zinc-plated etchings there are shades of Max Beckmann. One, entitled Klee and Ensor Fighting over a Smoked Herring, acknowledges the artist's debt to both...

Author: /time Magazine | Title: Art: The Newest Gothic | 1/20/1967 | See Source »

Purists protest that such tours de force rely more on hired technicians and expensive presses than on the artist's guiding hand, but Director Lieberman doubts that the artist ever really loses control. Furthermore, he says, collaboration is not that new: "Holbein never cut his woodcuts, nor did Durer; someone else did it for them...

Author: /time Magazine | Title: Graphics: Mixed-Up Medium | 9/30/1966 | See Source »

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