Word: legere
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Dates: during 1970-1979
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...Eyeglasses perched precariously at the end of his nose, he chastised the audience in thick British accents: "Now, ladies and gentlemen, we're way too low on this filly. She's out of a stakes-winning mare by a half brother to the winner of the St. Leger." Then the auctioneer would continue, building purposefully to that inevitable climactic gavel rap: "Are you all through? At fifty-five hundred and . . . six, you want him? Fifty-five hundred and . . ." BAM, the gavel would come down, and the gentleman in the fifth row who had firmly decided he could spend...
...show in Los Angeles was organized by Art Historian Douglas Cooper, a major collector and close friend of Picasso, Braque and Leger. The movement, he argues, aimed to restore reality to art, to discover a way of representing "the solid tangible reality" of things. This sense of reality and tangibility, says Cooper, had been lost to French painting in the late 19th century, amid the theorizing of the Symbolists and the opalescent shimmers of Impressionism. In classical art the aim is to represent a real world: but in this trompe-l'oeil reality, the thing which is not real...
...subject matter was drawn from the life they lived as virtually penniless men-in studios, on the street, or swigging a marc at some cafe. The packet of cigarette papers in a Braque, the jug in a Juan Gris or the boxy village houses hemmed by bulging trees that Leger painted in 1914 could be taken for granted as subjects; their anonymity not only connected them to ordinary life but also focused a viewer's attention on what was happening within a new language of painting...