Word: michelangelo
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...DESERT. Against bleak industrial landscape near Ravenna, Italy's Michelangelo Antonioni (L'Avventura, La Notte) explores the neurotic problems of a young wife (Monica Vitti) and, frame by frame, fills his first color film with precisely shaded insights and breathtaking beauty...
...reviewer of my novel The Smile on the Face of the Lion [Feb. 12] writes that "[the author] seems to have derived his literary manner in equal measure from Marcel Proust, Ian Fleming, Bernard Shaw and Michelangelo Antonioni." I have read the regular amount of Proust, very little Shaw, and no Fleming-though I am planning to. As for Antonioni, the really relevant thing we have in common is, of course, optimism (i.e., the awareness that making films, writing novels, etc., are the ultimately worthwhile pursuits...
...Desert is at once the most beautiful, the most simple and the most daring film yet made by Italy's masterful Michelangelo Antonioni, a director so prodigiously gifted that he can marshal a whole new vocabulary of cinema to reiterate his now-familiar themes. The new element of Antonioni's art is color. In Red Desert he shows a painterly approach to each frame; indeed he had whole fields and streets sprayed with pigment to produce precise shades of mood and meaning. Never has so bleak a vision of contemporary life been projected with more intensity, from craven...
MORE people have probably seen Brumidi's Washington than the Mona Lisa in the Louvre. He has even been called the "Michelangelo of the U.S." But Michelangelo, at least, had rich patrons. Brumidi was paid $8 to $10 a day-the same wage that Congress allotted to the plasterers and stone masons who worked on the Capitol. His average salary, for 25 years of labor, was $3,200 a year. And he took on his last job with no assurance of payment...
...Museum sculpture biennial, which opened this week with works by 123 sculptors, 50 of them newcomers. Variety is the show's sole common denominator, but the overall impression leaves one fact inescapably clear: the past decade has changed sculpture more than it changed in all the time between Michelangelo and Rodin. Sculpture is no longer a quintessence of form, something to be isolated, set apart and contemplated. Instead, sculpture may plug in and light up, move by machinery or breezes, invite the viewer to play with it. Says Whitney Associate Curator Edward Bryant: "Sculpture wants to come down...