Word: inners
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Dates: during 1950-1959
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...Picasso and Paul Klee, and from a slightly less exalted group-Fernand Léger, Jacques Lipschitz, Piet Mondrian, André Masson-who sat out World War II in New York. All brought essentially the same promise: instead of holding a mirror up to nature, art could mirror the inner world of the artist himself. The methods for doing this-abstraction and distortion-were as old as doddering modern art itself (i.e., almost a century), and had already been explored by older native sons from Arthur Dove to Stuart Davis (TIME...
...paintings show a grandness of conception that reminds me of Michelangelo. The larger than life figures of the Renaissance master are, however, classical in their dignity and spirituality. In contrast, Rubens' figures are treated romantically. They are overly real and sensual. Passions are magnified rather than reason or the inner restraint which tighten the faces and figures of Michelangelo. Certain fine oil sketches like *uos Ego reveal the characteristics of the Baroque style which Rubens created almost singlehandedly. Classical clarity is replaced by endless movement, and color is handled in a broad, and, at times, impressionistic, manner. In other canvases...
...believes him when he says that he has not made up his mind. But, as the mid-February date approaches when the doctors are to make their report on the state of his health, an impromptu debate is raging through press, radio, the barbershops, banquet halls, and even the inner sanctums of Washington over what Ike's decision will be. Millions of self-appointed analysts are probing his character, his past, and oracular statements already on the record...
When his eight-year-old son (Bobby Clark) is kidnaped, a wealthy manufacturer (Glenn Ford) raises the $500,000 ransom that the crooks require, but before he hands the money over, he has time to consider the facts of the matter. After a fierce inner struggle, his head rules his heart. He takes TV time to tell the criminals his decision: that they will never get a cent from him, and that, moreover, if the child is not turned loose unharmed, he will post the whole half million as a reward for their capture...
Some of the great poetry is gone, and the monumental construction is gone. But the marvelous Baroque drive and momentum of the inner line is still there. Welles has applied to it the kind of Mannerist treatment that has always come most naturally to him, introducing as he does such elements as the disproportionate, the unbalanced, the oblique, and the devious...