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...portrait of renowned government professor Harvey C. Mansfield ’53 smiles benignly alongside a portrait of staff member Medardo A. Landaverde and 26 other portraits as part of an exhibit launched yesterday in CGIS South...

Author: By Gautam S. Kumar and Julia L Ryan, CRIMSON STAFF WRITERS | Title: CGIS Debuts Portrait Exhibit | 2/5/2010 | See Source »

...MEDARDO ROSSO: SECOND IMPRESSIONS. This exhibit of Medardo Rosso’s sculptures is the first at a U.S. museum in 40 years. Medardo Rosso, an “impressionist sculptor,” saved and exhibited his wax casts rather than transforming them into bronzes. Focusing on five Rosso works, the exhibit attempts to determine what he was after when he sculpted 50 different variations of heads and busts. These range from the early “Aetas aurea” (The Golden Age, 1886-87), to the full-figure “Bookmaker?...

Author: By The CRIMSON Staff, | Title: Happening :: Listings for the Week of Aug. 15 through Aug. 21 | 8/15/2003 | See Source »

...Medardo M. Martin ’06, one of the four students who came from Hialeah last year, said he thought Summers’ speech could help dispel perceptions that Hialeah students couldn’t succeed academically beyond local schools...

Author: By Elisabeth S. Theodore, CRIMSON STAFF WRITER | Title: Summers Speaks With Florida High Schoolers | 3/10/2003 | See Source »

Hialeah High School isn’t exactly the kind of place that draws a large contingent of celebrity kids, but Harvard is the kind of place that can turn kids into celebrities. After four members of its 2002 graduating class—Javier Castellanos ’06, Medardo M. Martin ’06, Eileen Matias ’06, and Vanessa Mendez ’06—were all accepted by Harvard, the Miami Herald ran a front-page feature story with the headline, “Four Students From One School Beat Long Odds, Join...

Author: By Mollie H. Chen, CRIMSON STAFF WRITER | Title: Legacy: The Classmates | 2/20/2003 | See Source »

...reliance on the past, Marini revived Italian sculpture in a period when it languished after the Rodinesque impressionism of Medardo Rosso and the kineticism of the futurists. Marini loathed the machine at first. He took his subject from the horse and rider, an image common in the Italian cityscape, with Donatello's Gattamelata, Verrocchio's Colleoni and the ancient Roman statue of Marcus Aurelius placed on the Capitoline Hill by Michelangelo. Traditionally, the man on horseback is a symbol of authority, of exultant control, of human power over nature. Marini turned the image from initial triumph to ultimate...

Author: /time Magazine | Title: Exhibitions: The Centauricm | 5/27/1966 | See Source »

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