Word: guggenheims
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This year there are two Misters Big-and for good reason. Harry Guggenheim's Never Bend and Rex Ellsworth's Candy Spots already rank head-and-hindquarters above the rest of U.S. three-year-olds. When they meet for a showdown on May 4 at Churchill Downs, the race will be one of the year's great sports attractions...
...bureau's target was a woman who has long been famous in the U.S. art world: Alsatian-born Baroness Hilla Rebay, 72, the woman who first persuaded the late Solomon R. Guggenheim to buy his famous Kandinskys, directed his museum of nonobjective painting from its opening in 1939 to 1952, and is still a trustee of the Frank Lloyd Wright-designed Guggenheim Museum. The baroness is also a painter, and between 1955 and 1959 she donated eight of her own paintings to three schools, Arizona State College, Milwaukee-Downer College and Emma Willard School in Troy, N.Y. The market...
After four years in Europe on three different fellowships, the young American composer Benjamin Lees was fast approaching the day when he would become a public trust. He labored quietly over his compositions, as first Guggenheim, then Copley, then Fulbright supported him. He wrote a symphony and some chamber music, but the peak of his abstraction came in 1958, when he spent eight months writing a violin concerto. Lacking a virtuoso to play it, he stuffed it away in a steamer trunk...
...show at the Guggenheim was put together mainly from the museum's own impressive collection of Kandinskys, from the Gabriele Münter Foundation of the Stadtische Galerie in Munich (which now owns the Kandinskys collected by his pupil and onetime beloved, Painter Gabriele Münter), and the collection of Nina Kandinsky, the artist's widow, who lives in France. But Director Thomas Messer pulled off an even more impressive coup of roundupmanship: with the help of Mme. Kandinsky and Paris' Musée National d'Art Moderne, he engineered delicate negotiations with Moscow, bringing...
...News. All over the U.S., art has become big news, and a public conditioned to the excitement of recent museum spectaculars has responded in droves. The Albright-Knox Art Gallery in Buffalo last year drew 782,800 visitors -more than New York's Museum of Modern Art or Guggenheim Museum, more than Boston's Museum of Fine Arts, more than Amsterdam's Rijksmuseum, more than Florence's Uffizi, more than London's Tate Gallery-and five times as many as its own previous high...