Word: michelangelo
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...MYSTERY OF OBERWALD Directed by Michelangelo Antonioni Screenplay by Michelangelo Antonioni and Tonino Guerra...
...presidential hopeful and his lady of the evening, Sally (Nancy Allen). Jack dives in and saves her, but is later warned by police and friends of the deceased politician to forget that she existed. The plot thickens-curdles, really-with hints of Chappaquiddick and Nixonian plumbers, with genuflections to Michelangelo Antonioni's Blowup and Francis Ford Coppola's The Conversation, with narrative implausibilities and internal contradictions and enough red herrings to stock a Leningrad fish market...
...available condos can be described as Conspicuous Consumption Baroque. Bathrooms, the size of minigyms, will contain more Carrara marble than Michelangelo ever sculpted. Some are sans bidets because, the Najar brothers claim, Americans would just plant flowers in them. In the Longford, ordinary Los Angeles water flows from the mouths of dolphin-shaped taps that are plated with 24-karat gold. Other homey touches: large foyers for art treasures, crystal chandeliers and private screening rooms-and owners will be able to summon, with the press of a button, pet walkers, masseuses, engineers and secretaries. The 31-story L'Evian...
...overwhelming sexual frankness, and the refusal to idealize the body's postures; Rodin's poses do not belong to earlier sculpture. Then, finally, there is the fragmentation of the body itself as a sculptural object. Rodin's work was permeated by his love of Michelangelo and the expressive power of the non-finito, the sculpture as unfinished block. But his use of the "partial figure"-the headless striding man, the ecstatically capering figure of Iris, Messenger of the Gods-went beyond such conventions as the body not yet released from its mass of raw stone, or even...
...also right, for Rodin was a man of 19th century amplitude and not 20th century doubt. What sculptor, today, could one expect to possess such reserves of feeling, such an indifference to the errors of his own fecundity, or so unrestrained a tragic sense? To compare him with Michelangelo is not, in the end, impertinent, for Rodin was one of the last artists to live and work in the belief that making sculpture-despite the potboilers and failures in his output-was a moral act, that it could express one's whole sense of being in the world...