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Mussorgsky's Boris Godunov, with American Basso Giorgio Tozzi. Color...

Author: /time Magazine | Title: Cinema: Mar. 24, 1961 | 3/24/1961 | See Source »

...apartments in the Tuileries for Josephine Bonaparte. In scope, the collection runs from Paolo Uccello's geometric sketch of the 32 surfaces of the mazzocchio, a circular wicker framework used by Florentines as a base for their characteristic cloth headpieces, to an intricately executed sketch by Artist-Author Giorgio Vasari (Lives of the Most Excellent Painters, Sculptors and Architects) of a battle scene to be reproduced in epic proportions in a Florentine palace. In subject, the galaxy includes saints and schoolboys, allegories and rustic landscapes, anatomical studies and exquisite faces...

Author: /time Magazine | Title: Art: Masterful Drawings | 3/17/1961 | See Source »

...ghostly landscapes and empty plazas that Giorgio De Chirico painted in the decade before 1920 rank the Italian artist as the most influential forerunner of surrealism. In the late '20s his paintings were so much in demand that he secretly took to selling them himself, circumventing an exclusive contract with a Paris dealer. The dealer promptly retaliated by selling De Chiricos so cheap that the artist swore lifelong vengeance on all art dealers as unscrupulous leeches...

Author: /time Magazine | Title: Art: Real, Fake & Real Fake | 3/17/1961 | See Source »

Pink & Sapphire. As critic, Soby wrote the first U.S. book on surrealism and neoromanticism, then turned out a study of Italian Painter Giorgio de Chirico that Alfred Barr calls "the best monograph on a living artist." His own nine De Chiricos are probably as good as anything the artist ever turned out. Yet it is hard to say they are the best of the collection...

Author: /time Magazine | Title: Art: The Affectionate Critic | 2/10/1961 | See Source »

...Last week's production was fitted out with a new English translation by Ann Ronell, who angrily asked that her name be dropped from the program after the Met cut various changes she had made in the original libretto. The performances-by Victoria de los Angeles, Rosalind Elias, Giorgio Tozzi and Tucker-were generally first-rate. But to modern ears, Martha's music seems hopelessly dated and sickeningly sweet. The heroine was probably echoing more of her listeners than she knew when she warbled...

Author: /time Magazine | Title: Music: The Last Rose of Flotow | 2/3/1961 | See Source »

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