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Look well, and you'll see a curious thing about the pitcures in the Adams House Photography Festival--practically every entrant including most of the judges, was petrified by the possibility that he might take a picture exposing a live, human emotion. With few exceptions, the entries consist of still...

Author: By Donal F. Holway, | Title: A Camera Obscura | 4/19/1962 | See Source »

Still lifes and portraits represent "pieces of kosmos that we have wrenched apart and carried off with us," Vercors stated. In the next stage of art, man makes freer use of his memory, arranging the facts of nature in his own order to make them say what he wants.

Author: By Efrem Sigel, | Title: Vercors Explains Art as Rebellion | 1/11/1962 | See Source »

The Picasso's Picassos done in the '30s are mostly domestic. Only one before 1939-that ol a nun torn asunder by a bomb during the Spanish Civil War-echoes the horror of Guernica. Picasso painted still lifes, a bird or two, portraits of Dora and Picasso'...

Author: /time Magazine | Title: Art: The Unseen Picassos | 10/27/1961 | See Source »

Plastic Green Thumbs. In hotels, offices, bars and restaurants, artificial blossoms have just about replaced the real thing. Many hotels order their phonies under a lease arrangement that calls for a seasonal change of blossoms to avoid having their lobbies decorated with poinsettias in July. In San Francisco some artists...

Author: /time Magazine | Title: Taste: A Rose Is Not a Rose | 8/18/1961 | See Source »

From those early years on, Italian painting fluctuated wildly between violence and serenity. Even as the futurist wave gathered momentum, Modigliani began painting his delicately attenuated figures, and Italy's art moved on through Giorgio de Chirico's dream-like surrealism, the almost eerie quiet of Giorgio Morandi...

Author: /time Magazine | Title: Art: ON NATIVE GROUND | 7/11/1960 | See Source »

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