Word: exhibited
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Dates: during 1950-1959
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Paolo Buttini is a 19-year-old Italian with a sure hand and a consuming desire to be a great artist. His first big exhibit in Milan three years ago drew record crowds and won wholehearted praise from Italy's usually wary critics. Wrote Leonardo Borgese in the respected Corriere della Sera: "Buttini is no fake. If he has any fault, it is that of being too good." Last week, with 114 of his pen & ink drawings on show at Manhattan's Grand Central Palace, U.S. gallerygoers could understand the enthusiasm...
...striking exhibit for a 19-year-old. Paolo's muscular sketches showed a smooth, well-developed style and a precise eye for detail. His best were natural subjects he saw at the zoo or the family farm: a furry, tongue-flicking anteater, a nursing calf, a spiny crawfish. In others, he had let his imagination roam, turned out such things as a ferocious sparrow, as seen from the eye of its prey, a beetle, a fantastic, cross-eyed cat, a panorama called Ancient Hunt, showing naked horsemen chasing terrified animals. His sponsors reported that 85,000 people have stopped...
Boston's 108-acre Public Garden, where people go to stroll, look at the flowers, or take a turn around the pond on a swan boat, buzzed last week with one of the biggest crowds in its history. The occasion: a city-sponsored exhibit of nearly 300 New England painters and sculptors, with all Boston invited in for a look...
Canada's Yousuf Karsh (TIME, Feb. 3, 1947) is perhaps the world's most celebrated portrait photographer. Visitors to his exhibit of camera work at M.I.T. last week found him dabbling in what is, for Karsh, a brand new subject: alongside his famous portraits of Winston Churchill, Eleanor Roosevelt and Bernard Shaw hung an impressive series of industrial photographs done with the master's usual flair for drama. In a steel plant and an auto factory, he had found workers posed like ballerinas around a slender ribbon of steel, had photographed paint sprayers conferring like brain surgeons...
Bread & Butter. All Bedikian asks is that Paris judge for itself. In a Right Bank gallery last week, 65 of his canvases were on exhibit for the first time: a series of posed portraits done in his studio, and a second series of free impressions from his rambles around the Continent. The portrait work was bread & butter art-formal and flattering. But those he had dashed off on his travels showed a masterly touch. In a few confident strokes of smooth color, Bedikian could re-create the patient labor of a Capri fisherman's life, the lazy alertness...