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Annenberg was also an art aficionado who in 1991 pledged his extensive collection of Impressionist and post-Impressionist masterpieces to the New York Metropolitan Museum...

Author: By William B. Higgins, CONTRIBUTING WRITER | Title: Harvard Donor, Media Magnate Dies | 10/2/2002 | See Source »

...seem, at the start of the 20th century color was contentious. Old theories of art still held that the color in a painting should be secondary to the drawing: get the structure down and then color it in. But from the 1870s Impressionism had disturbed this dull consensus. The Impressionists painted outdoors and quickly. They showed that lines did not exist to sight, but were imposed on the world by the mind. In other words, we see structure because we know it exists. The Impressionists gave structure to their paintings by juxtaposing colors. Artists were not content merely to mimic...

Author: /time Magazine | Title: Prime Colors | 9/15/2002 | See Source »

Cuno, who will become the first American to direct the Courtald, has shown an interest beyond museum administration, applying his art interests to teaching. At Harvard, he taught several popular classes, including a freshman seminar and a Core Curriculum course on Impressionist...

Author: By J. hale Russell, CRIMSON STAFF WRITER | Title: Art Museum Director To Leave Harvard for London | 6/28/2002 | See Source »

...French Impressionist By TIM LARIMER Tokyo One of the oddest acts on the world cup stage has been the sideline shadow play between Philippe Troussier, Japan's French manager, and Florent Dabadie, his inseparable translator. Dabadie, 27, has the soul of a mime. Instead of merely interpreting Troussier's pearls of wisdom, he mimics the boss's every move. "It's about being Philippe Troussier," says Dabadie. "The players don't look at him when he's talking, they look at me." The theatrical Frenchman admits he sometimes edits Troussier's monologues so the coach doesn't "appear...

Author: /time Magazine | Title: Free Kicks | 6/24/2002 | See Source »

...looking at landscapes, gardens and scenes of leisure had particular resonance in a distant land that, a century earlier, embraced some revolutionary French ideas about politics. "I hated conventional art," said Mary Cassatt, a leading American artist of the 19th and 20th centuries. "When I joined the Impressionists, I began to live." Cassatt was not alone. By the late 1870s Impressionism was already an established movement in France. American painters were flocking there to embrace the new style, blending European approaches and techniques with their own influences and vision. Cassatt and her contemporaries - including John Leslie Breck, Childe Hassam, William...

Author: /time Magazine | Title: Lasting Impressions | 6/23/2002 | See Source »

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