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Cabaret--This musical about the degeneration of German society just before Hitler came to power is a heady production emblazoned in the tones of Kurt Weill and George Grosz. Most of the original cast is gone, but the Kander-Ebb score, the Boris Aaronson sets, and Harold Prince's direction--all miraculous--are still there. So is Lotte Lenya, who is as beautiful and gravel-voiced as ever. At the BROADWAY, Broadway at 53rd...

Author: NO WRITER ATTRIBUTED | Title: Spring in New York: The Plays to See | 3/28/1969 | See Source »

Conspicuous in the show are 13 examples of his Women of 1950-55. These "bitch goddesses" outraged yet captivated the public taste at the time, perhaps because they were essentially familiar, looking nostalgically backward to Picasso's baleful demoiselles and George Grosz's Weimar whores. But looking backward in turn, most critics now find far more significant the abstract compositions that De Kooning executed between 1945 and 1950, before he immortalized his Women...

Author: /time Magazine | Title: Art: DE KOONING'S MASTERWORK | 3/7/1969 | See Source »

Buildings, police, slum kids, street crowds and the mayor-Bearden worked them all into the jigsaw combination of photomontage and pasteup collage that has become his personal style. It is a style he developed after years of study under such teachers as Satirist George Grosz and at Manhattan's Art Students League, and he uses it with remarkable versatility (TIME, Oct. 27, 1967). With it, he has portrayed the varied aspects of the world he has known-from Deep South sharecropper farms to the Harlem neighborhoods, where he spent his youth and later tried his hand at professional songwriting...

Author: /time Magazine | Title: A Letter From The Publisher: Nov. 1, 1968 | 11/1/1968 | See Source »

Chandler, an ardent Black Power advocate, is a man with fire in his belly; but he chooses to channel it into art rather than arson. He says art can be as effective as destruction in bringing about social change, thereby allying himself with such potent practitioners as Orozco, Kollwitz, Grosz, and Shahn...

Author: By Caldwell Titcomb, | Title: Black Power in Art | 12/15/1967 | See Source »

Sons & Suns. Bearden, 53, has spent 30 years developing his technique. In the late 1930s he studied under Satirist George Grosz at Manhattan's Art Students League, next fell under the combined influences of Picasso, García Lorca and Hemingway (a 1946 show of gaudy oils and watercolors was inspired by García Lorca's lament for a bullfighter). In the 1950s, he painted in Paris, took a turn in Manhattan as a professional songwriter but periodically returned to canvases of Negro life. He began to use collage only in the 1960s...

Author: /time Magazine | Title: Painting: Touching at the Core | 10/27/1967 | See Source »

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