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...mist to have been there nearly as long as the sea. They are the thousands of offshore oil platforms that dot the continental shelf of North America. They are the hostile homes of the offshore oil workers, a very tough and particular breed of men. Houston Bureau Chief Leo Janos went to live among them for a time on a platform off the Gulf Coast of Louisiana. His report...

Author: /time Magazine | Title: Oilmen at Sea: Life on South Marsh Island 73 | 3/1/1971 | See Source »

...begin with, Gertrude Stein went to live with her brother Leo in Paris in 1906 at 27 due de Fleurus and became promoter of the avant-garde: "The Mother Goose of Montparnasse...

Author: By Meredith A. Palmer, | Title: Art Four Americans in Paris | 2/23/1971 | See Source »

...Museum of Modern Art (MOMA) has tried to hold open house once more with the Steins, not only at 27 rue de Fleurus where Gertrude and her brother Leo lived, but at 58 rue Madame where their older brother Michael lived with his wife Sarah. MOMA has succeeded in opening the Stein houses, yet we only get glimpses of Gertrude-we overhear only fragments of her remarks about Picasso, Cubism, Picasso, Picasso-we see Leo exclaiming, "Cezanne... Picasso's Blue Period... Matisse!" And Michael and Sarah are lost somewhere in their house that Le Corbusier built at Garches. We feel...

Author: By Meredith A. Palmer, | Title: Art Four Americans in Paris | 2/23/1971 | See Source »

...room shows the decisive break that Gertrude had with her brother Leo in collecting. (Unfortunately, only the audio-guide tour points out that this room consists of works Gertrude chose alone, without the assistance of Leo). Where Leo had chosen bold Matisses and sensuous Bonnards and Renoirs, Gertrude chose the more analytical Cubists...

Author: By Meredith A. Palmer, | Title: Art Four Americans in Paris | 2/23/1971 | See Source »

Clarification of individual personalities in the Stein family might have been successful with tapes of Gertrude or Leo reading from their writings about particular artists. Picasso's work might be better understood if Gertrude were saying: "This one was working and something was coming then, something was coming out of this one then..." Or if an African mask were adjacent to Gertrude's Cubist-like portrait, or if Leo were expressing his excitement over Cezanne when he had really gone to Italy to study Italian painters: Mantegna for Leo was "a sort of Cezanne precursor with the color running...

Author: By Meredith A. Palmer, | Title: Art Four Americans in Paris | 2/23/1971 | See Source »

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