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Word: guggenheims (lookup in dictionary) (lookup stats)
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...litter it and leave. Last week, having just ended a four-month toot, Bacon was back at his easel in a South Kensington mews flat that has been home for a scant fortnight. At the same time, 65 of his oils went on exhibit in Manhattan's Guggenheim Museum. It was the largest one-man show in the U.S. for a living British painter within the century...

Author: /time Magazine | Title: Art: In the New Grand Manner | 11/1/1963 | See Source »

...paintings--each about 10 feet square--were first tried in the room early last spring. At Rothko's request. Harvard then loaned them to the Guggenheim Museum in New York, where they were exhibited for about two months...

Author: NO WRITER ATTRIBUTED | Title: Rothko Gives University Five Murals | 10/26/1963 | See Source »

...both the Naples Academy of Fine Arts and a Neapolitan stained-glass factory. He worked commercially in Pittsburgh and New York for several years, then returned to Italy in the early thirties. There, he studied the frescoes of Signorelli and developed his talent enough to win two successive Guggenheim grants when he returned to the United States in 1936. He claims that the Italian wall painters are still the greatest influence on his work...

Author: By Daniel J. Chasan, | Title: Drawings by Rico Lebrun | 9/27/1963 | See Source »

...popping out all over. On view last week at the Los Angeles County Museum was a twelve-man pop show with a coast-to-coast geographical spread. Manhattan's Guggenheim Museum had sent out its six-man show of pop art (TIME, May 3) and added works by six California practitioners, enabling viewers to compare the pop fashions of the two coasts...

Author: /time Magazine | Title: Art: Pop Pop | 8/30/1963 | See Source »

...appears to arouse experts to belligerence, pro or con, and at the opening of the Los Angeles show, two prominent New York museum officials got into a public altercation. The antagonists: Peter Selz, curator of Manhattan's Museum of Modern Art, and Lawrence Alloway, curator of the Guggenheim. The paintings in the show are "limp and unconvincing," said Selz in a short talk. "It is the want of imagination, the passive acceptance of things as they are, that makes these pictures dull and unsatisfactory. It is as easy to produce as it is to consume...

Author: /time Magazine | Title: Art: Pop Pop | 8/30/1963 | See Source »

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