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Then he started doing other pictorial styles as subjects of his own. Picasso, Fernand Leger, Carlo Carra, Max Beckmann and so on. Then kitsch Modernism, as imagined by cartoonists. The trouble with these versions of Modernist classics 'n' clinkers is their sameness. After a while, it isn't very interesting to be shown that just about anything can be turned into a Lichtenstein, congealed in his cryogenic style. There's none of the engaged imagination, the sense of a transforming mind at work, that one gets in, say, Miro's wild versions of a 17th century Dutch interior, down...

Author: /time Magazine | Title: The Image Duplicator | 11/8/1993 | See Source »

...obsessed with bowel movements as nature's prophylactic -- "Push, my love," she whispers urgently to the infant Leo, a captive princeling enthroned on a potty. His near mute sisters Nanette and Rita shuttle dully from fantasy to insanity, from home to the local asylum. His brother, musclebound Fernand (Yves Montmarquette), is so frail of spirit that he is prey for the scrawniest bully. His gross grandfather (Julien Guiomar) has tried to drown Leo, who can't wait to return the favor...

Author: /time Magazine | Title: The Art of Childhood | 4/5/1993 | See Source »

Appel also applauds the modernist glorification of construction, the city and technological innovation. Fernand Leger's "The City" (1919) is his point of departure, its "grandly optimistic if not utopian" vista ushering in a hopeful era of activity and communication. Likewise, Stuart Davis's painting "Swing Landscape" (1938), with its jazz dance composition, suggests a sense of connection, counter to T.S. Eliot's charge of "nothing connects" in "The Waste Land...

Author: By J.c. Herz, | Title: Celebrating the Joy of Modern Arts | 10/15/1992 | See Source »

...into politics, issuing pretentious manifestos. Not so their Belgian cousins; "the subversive act," said one, the writer Paul Nouge, "must be discreet." Magritte's style, as it evolved, was studiously neutral. His early work, in the 1920s, was mainly exercises in late Cubism -- the "tubist," streamlined, geometrical forms of Fernand Leger and Amedee Ozenfant, shapes that might have been made from metal. The artist who clearly had the biggest impact on Magritte, turning him toward fantasy and irrational images, was Giorgio de Chirico. And even then Magritte couldn't find a way to use De Chirico's unique scenography until...

Author: /time Magazine | Title: Art: The Poker-Faced Enchanter | 9/21/1992 | See Source »

...Metropolis" does not pretend to cover every kind of image made by artists and craftsmen in the '20s. Its focus is the city, and that alone -- so that although it includes Fernand Leger's The Mechanic, 1920, the arcadian strains in '20s French painting, Matisse and Derain, for example, find no place in it. And quite a lot of lesser art does because -- derivative or coarse though it sometimes is -- it has something to say about the pervasiveness of imagery. Much of Weimar-period German art is a crude mix of De Chirico and cartooning, but one doesn't object...

Author: /time Magazine | Title: Art: Putting A Zeitgeist in a Box | 10/7/1991 | See Source »

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