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...sword is the axis of the world, and greatness cannot be shared. (1934) The emotional side of me tends to imagine France, like the princess in the stories or the Madonna in the frescoes, as dedicated to an exalted and exceptional destiny. But the positive side of my mind also assures me that France is not really herself unless in the front rank; that only vast enterprises are capable of counterbalancing the divisive ferments which are inherent in her people. In short, to my mind, France cannot be France-without greatness. (1955) Who in good faith can dispute the fact...

Author: /time Magazine | Title: World: THE VISION OF CHARLES DE GAULLE | 2/8/1963 | See Source »

...quite. That night the young man sees the same girl standing in the rain and watching him. He chases her, catches her just at the door of her house, eases her upstairs. Diable! She lives in a suite of decadent splendors : baroque candelabrum, Chinese madonna, canopied bed, pair of pigeons murmuring in the dimness amorously. Obviously a love nest. But who is her lover? She will not tell. She will not even tell her own name...

Author: /time Magazine | Title: Cinema: A Young Man's Frenzy | 8/24/1962 | See Source »

...large degree, the still life became his world. He painted musical instruments-objects that come alive at the touch-with such loving care that Juan Gris called the guitar Braque's "new madonna." Braque liked to be able to feel these objects; but in a larger sense, the objects were also as intangible as the themes of a symphony. "I try to make the object lose its usual function." he said. "It is only then that it acquires the quality of universality...

Author: /time Magazine | Title: Art: Braque at 80 | 5/11/1962 | See Source »

...tell us more about the excellent cover by Henry Koerner? What does the Madonna and the book mean? What was the artist's reaction while painting this portrait...

Author: /time Magazine | Title: Letters: Feb. 16, 1962 | 2/16/1962 | See Source »

...Artist Koerner painted Father Hesburgh with a Giotto madonna, an atomic equation and a chemical formula to "represent the changeless and the changing-both in Hesburgh's domain." The portrait took a week of intensive sittings, and Koerner felt that "Hesburgh helped me paint it just by being a man of great capacity for compassion and passion." The artist also came away impressed by the subject's sense of discipline: "He would hold the pose for two or three hours without moving a finger...

Author: /time Magazine | Title: Letters: Feb. 16, 1962 | 2/16/1962 | See Source »

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