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...Turin, Bologna and Naples. There was no broad direction of style. The artists worked more and more outside Italy, pursuing foreign commissions and coming back with the seeds of foreign taste sticking to them like burrs. As a result, the range of the period was astonishing; it ran from Magnasco's turbid compositions of raggedy monks to the grandeur and sun-washed transparency of Tiepolo's Armida Abandoned by Rinaldo, from Pier-Leone Ghezzi's wry grotesqueries and exact social observation to the flaccid but competent imitations of French classical landscape turned out by such artists...

Author: /time Magazine | Title: Art: Orphan Celebrated | 3/8/1971 | See Source »

...other, a historical show, is the first New York exhibition devoted to the work of such little-seen Genoese painters as Luca Cambiaso (1527-1585) and Alessandro Magnasco (1667-1749). Both through...

Author: /time Magazine | Title: Art: Art in New York: Nov. 6, 1964 | 11/6/1964 | See Source »

...Bayton Art Institute, which is now showing a large exhibition of the long-overlooked school of Genoa, has been given paintings by the two best artists in the group-Cambiaso and Magnasco. In Detroit, Mrs. Edsel Ford gave to the Institute of Art a 15th century Flemish sculpture called Lamentation over the Body of the Dead Christ that was carved after a design by Rogier van der Weyden and for centuries belonged to the Dukes of Arenberg. The Cleveland Art Museum's acquisitions in the old master class range from a landscape by Claude Lorrain through a newly discovered...

Author: /time Magazine | Title: Art: From the Dwindling Supply | 11/23/1962 | See Source »

Crazy Joey Gallo's imminent trip up the river leaves unsettled two puzzling attacks on members of his mob: Who tried to garrote Larry Gallo in a Brooklyn tavern in August, and who shot a Gallo lieutenant, Joseph Magnasco, in October? If the Gallo gangsters know, they are not talking. As an explanation to the boys about why Crazy Joey had clammed up before the jury, the Brooklyn headquarters of the mob is festooned in locker room fashion with inspirational signs: "Don't talk-the life you save may be your...

Author: /time Magazine | Title: Crime: Crazy Like a Clam | 11/24/1961 | See Source »

...Piero di Cosimo, Andrea del Castagno, Fra Angelico, Andrea del Sarto, all at Cleveland and all masters of form who had graduated from the childish mysticism of the Gothic. In Venice and Genoa, however, the Gothic spirit hung on a little longer in the magical paintings of Crivelli, Lotto, Magnasco and Strozzi. Lotto's Pieta is one of Cleveland's most striking pictures: a huge, bullnecked Christ crucified whose dead skin lies in ghastly contrast against the living flesh of His friends. Crivelli adds to his Madonna and Child a huge housefly, an exactly rendered cucumber, a halo...

Author: /time Magazine | Title: Art: Millennium at Cleveland | 7/13/1936 | See Source »

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