Word: madrid
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Dates: during 1950-1959
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...Valley of the Fallen) was thrown open to the public. It is built on a scale to rival the pyramids. On the rocky crest of one of the foothills of the snow-capped Guadarrama Range sits a sparkling, 5OO-ft., white granite cross, visible on a clear day from Madrid, 28 miles away. Beneath the cross, chipped out of the mountain's solid rock interior, is a huge crypt, 780 ft. long and richly inlaid with marble. The crypt leads to a basilica 130 ft. high, whose dome is adorned with a mosaic depicting God, the angels...
...rich in. family detail and warmth was the painting that it became a royal favorite for two generations; it now hangs in Madrid's Prado. Scholars have long since identified the room Velàsquez pictured as one in Madrid's Alcazar. They recognized the painting hanging below the ceiling in the left background as the Pallas and Arachne originally ordered by Philip IV from Rubens in 1636 for the Torre de la Parada, the royal hunting lodge near Madrid...
...copy issue featuring a long, intimate interview with Ernest Hemingway. The interview was obtained with an enterprise characteristic of Review's methods. Young (31) Editor George Plimpton introduced himself to Hemingway in the bar of Paris' Hotel Ritz, spent two weeks watching bullfights with him in Madrid, later flew down to Cuba for long hours of talk in Hemingway's Finca Vigia home, broken by long hours in a fishing boat with the old man and the sea. The resulting interview has a refreshing flavor matched against the pedantic fuss-budgetry of critics in rival quarterlies. Sample...
...fair sample was the show's opening last fortnight in Madrid's newly founded Museo de Arte Contemporaneo. On hand to do the honors was U.S. Ambassador John Davis Lodge, who tried his best to make polite noises as he was led from one sprawling canvas to the next, fled 45 minutes after he arrived. One distinguished Spaniard, steeped in the traditions of El Greco and Velasquez, asked: "If this is art, what was it that Goya painted? You certainly can't compare the two." The abrupt reply from a partisan of the show...
Limited Ecstasy. What was clear on that opening night was that the show appealed to a minority, primarily younger artists and critics. Their welcome was ecstatic. "This exhibition was necessary," exclaimed Madrid Artist Manolo Millares, 32. "We've been wanting it for years." The 200-odd aficionados who milled around the huge canvases at the opening rapidly began sorting out impressions. Jackson Pollock was the most important, they decided. Mark Rothko's shimmering panels of color were their favorites, followed by the works of Clyfford Still (TIME, Nov. 25), Franz Kline, Philip Guston. Sam Francis. The qualities most...