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Most of the professionals represented here will be familiar names to museumgoers. On the other hand, the outsiders are mostly unknown or recognizable by name only. A few, like the visionary landscapist Joseph Yoakum (1886- or 1888-1972), have risen to minor fame through the admiration of other artists -- in his case, again, via Nutt and his friends in the Hairy Who group in Chicago in the '60s. Others are better known in Europe than in the U.S. These include Adolf Wolfli (1864-1930), the near illiterate peasant schizophrenic whose stupendously complex drawings of imaginary terrains, buildings and cities, infinite...

Author: /time Magazine | Title: Art: The View From Outside | 12/14/1992 | See Source »

...third score is the current exhibition of the Dutch landscapist Jacob van Ruisdael one of the most important art historical events ever staged at the Fogg...

Author: By Lucy M. Schulte, | Title: Romance and Realism at the Fogg | 3/1/1982 | See Source »

Described as "a serious Billie Burke" by one of her friends, Author Truman Capote, Bunny is a woman of great, if somewhat eccentric style and a brilliant landscapist. At the request of another friend, Jacqueline Kennedy, Bunny redesigned the White House gardens; her own gardens in Virginia look like an impressionist painting...

Author: /time Magazine | Title: Art: A Portrait of the Donor | 5/8/1978 | See Source »

...major. "It was always a putdown for me in the '50s," recalls Diebenkorn, 55, a big, reticent man with a no-nonsense bearing. "There were, one was told, all the New York artists doing strictly abstract painting; but according to Art News I was nothing but a landscapist. I resented being cut out from the rest, some of whom were as much or as little landscapists as myself...

Author: /time Magazine | Title: Art: California in Eupeptic Color | 6/27/1977 | See Source »

...short, an intensely specific artist. Specificity did not come easily, for any landscapist practicing around 1800 faced a battery of required stereotypes-chiefly the pastoral landscape with framing trees and unified brown tone, in the manner of Claude or Gaspard Poussin. Time and again, we see Constable glancing at the formula, using it, sheering off. He writes in 1803, the year of his Royal Academy debut: "I have been running after pictures and seeking the truth at second hand . . I shall shortly return to Bergholt where I shall make some laborious studies from nature - and I shall endeavour...

Author: /time Magazine | Title: Art: When God Was an Englishman | 3/1/1976 | See Source »

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