Word: lerma
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...painters like Anita Magsaysay-Ho, Jose Joya and Fernando Zóbel had been virtually obliterated. Drawing inspiration instead from American artists like Jackson Pollock and Willem de Kooning, the cool mathematical lines of Zóbel fitted surprisingly well into the Marcoses' own propagandistic aims. According to Ramon Lerma, director of Manila's Ateneo Art Gallery, the Marcos regime was preoccupied with modernity. "They wanted to present the Philippines as keeping up with the rest of the world," he says...
...more fleshed out sense of the court’s artistic culture.One of the most fascinating elements of the exhibit is the way it sheds light on the influences of other artistic styles on Spanish painting. Flemish artist Peter Paul Rubens’ portrait of the Duke of Lerma is the only work in the exhibit not by a Spaniard. His enormous painting, which ushered in a new style of grandeur that became the hallmark of Philip’s reign, demonstrates stylistic exchange across borders. Many of the painters in Philip’s court were of Flemish...
...Spain's global empire, and that of his son Philip IV, a middling monarch but one whose court painter was Diego Velázquez. That cinched his immortality. Philip III was known for his piety, his love of luxury and his willingness to allow his chief adviser, the Duke of Lerma, to run things--not always well...
...Maria Cristina started it all back in 1912, when the city built a five-story hotel to accommodate the countless chamberlains, ministers, officers, grandees and courtiers who followed her to Miramar, the royal summer residence on the Bay of Biscay. Led by the Duke of Alba, the Duke of Lerma and the Duke of Pinohermoso (who once commandeered the couch in the ladies' powder room rather than sleep in another hotel), the Spanish aristocracy still faithfully flocks to the Maria Cristina every summer. "We cater to a certain class of people who no longer have the money their grandparents...
...mural that Mexico's Diego Rivera painted down the sides and across the bottom of the distribution chamber of Mexico City's Lerma River water system (TIME, June 4, 1951) was a wonder to behold the day it was dedicated almost five years ago. Painted around the water's edge were giant-sized symbols of Mexico's people, their past oppressors and future hopes; beneath the water was an intricate pattern of teeming protoplasmic life. Rivera confidently predicted that his water-washed mural, Water, Origin of Life, painted with a mixture of plastic polystyrene...