Word: malraux
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...HOSE words, by Critic Andre - Malraux, pinpoint one of the most important happenings in art history. Burgeoning now, it has been preparing for 500 years. Art reproduction dates back to the woodblock illustrations of the 15th century. In the 16th, the great Raphael was so impressed by the possibilities of copper engraving that he issued some prints from his own designs. By the end of the 19th, Currier & Ives had flooded the U.S. with a choice of 7,500 hand-colored lithographs ("Juvenile, Domestic, Love Scenes, Kittens and Puppies, Ladies Heads, Catholic Religious, Patriotic, Landscapes, Vessels, Comic, School Rewards...
There is a theory that art spins out of itself, century by century, in a sort of chain reaction. According to this notion, it is the world of art and not the great wide world that inspires artists. French Author-Critic André Malraux, a European cultivated to the breaking point, put that idea across in The Voices of Silence (TIME, Feb. 15). Yet painters who prefer the fields to the museums, and who try to describe nature rather than to repeat or surpass another man's picture, do not fit this theory. The U.S. has been rich...
...most of his 52 years, French Writer André Malraux had been searching for an answer to the question: What is the meaning of man? As a youth, he took up archeology, looking for the meaning among dead civilizations. Later he sought the answer in revolution, fought alongside the Communists in China and Spain. In 1939, he broke with the Communists, and after World War II, became right-hand man to right-wing General Charles de Gaulle. In his monumental book, The Voices of Silence, published in the U.S. last year (TIME, Nov. 23), Malraux seemed at last to have...
...Malraux and many like-minded intellectuals, writes Onimus, try to substitute art for God. "Malraux finds in art the justification for existence . . . He cannot dwell in nothingness; the absurdity of it catches him by the throat . . . He seized upon art when it appeared to offer an escape toward heaven . . . For Malraux, [art] succeeds the gods; it takes over from a faltering religion . . . Modern man . . . stripped of faith and hope, surrounds himself with [masterpieces], those ghosts who have successfully triumphed over time . . . For modern man, as Malraux sees him, museums are no longer collections, they are sanctuaries where, in a world...
...Malraux had written: "The alcove of Vermeer, a flower painting by Chardin, give us a view of a world where man is less antlike than in his own." But, Onimus responds: "What anguish in these few lines! And, in fact, perhaps what misgivings! Does Malraux seriously believe that Vermeer's alcove, Chardin's bouquet, however beautiful they are, contain within them the power of salvation? . . . His position is untenable...