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...shows ranged from a patronizing "bewildering" to a savage "subterhuman hideousness." The most vital American painters were a group subsequently known as the Ashcan School, but their harshly realistic paintings were receiving almost no recognition. "Stop studying water pitchers and bananas and paint everyday life," cried Cincinnati-born Robert Henri. But the Academy and the public preferred the bananas...

Author: /time Magazine | Title: Art: The Glorious Affair | 4/5/1963 | See Source »

...same notoriety and success as Paris' Salon des Refusées. As president, they chose Painter Arthur B. Davies. not so much because he had exhibited with the Ashcan School, but because he knew people of wealth and position. The choice had repercussions no one foresaw: while the Henri group wanted to put on a huge exhibition to call attention to "progressive" American art, Davies happened to have an instinctive appreciation of the experiments going on in Europe. One day he sent to his friend Painter Walt Kuhn the catalogue from a show of modern art going...

Author: /time Magazine | Title: Art: The Glorious Affair | 4/5/1963 | See Source »

...escaped the tirade was Odilon Redon: his work cast the same spell it does today. On the other hand, the critics could not find words strong enough for Henri Matisse. Even the sensitive Harriet Monroe, editor of the avant-garde Poetry, called his pictures "the most hideous monstrosities ever perpetrated in the name of long-suffering art." As for Marcel Duchamp's Nude Descending a Staircase, everyone had a field day. Julian Street's description of it as an "explosion in a shingle factory" became almost a household phrase. Teddy Roosevelt compared it unfavorably to a Navajo...

Author: /time Magazine | Title: Art: The Glorious Affair | 4/5/1963 | See Source »

Moans Owner Henri Soulé of the sumptuous Le Pavilion: "We cannot survive...

Author: /time Magazine | Title: The Expense Account: Prove It and You're O.K. | 4/5/1963 | See Source »

...mastered several styles and mediums. Besides oils, he was at home with watercolors, pastels and crayon. He even had one brief fling with impressionism. So equipped, Anshutz could recognize important tendencies and strengths in his pupils, then draw these out and enlarge them. Four of his pupils were Robert Henri. George Luks, William Glackens and John Sloan, all destined to become city realists who dramatized the piercingly lonely everyday life of New York in the early 1900s, and all better known-until now-than courtly old Professor Anshutz...

Author: /time Magazine | Title: Art: In Turkey-Chawed Country | 3/22/1963 | See Source »

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