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...essential difference between him and Caravaggio, though, was that Ribera believed strongly in drawing for its own sake -- no drawings by Caravaggio survive -- and was a passionate student of the 16th century grand manner, whose defining masters were Michelangelo and Raphael. Their works, he said, "demand to be studied and meditated over many times. For though we now paint following a different course and method, if it is not established upon this kind of study, ((our)) painting may easily end in ruin." This is why Michelangelesque poses often recur in Ribera's early work, such as the half- ruined, still...

Author: /time Magazine | Title: Art: Baroque Futurist | 10/12/1992 | See Source »

Canova is notoriously hard to love. It's not just that his marble carvings, finished to an extreme degree of perfection, run counter to the belief in the rugged, the unfinished and the visibly sincere that descends to us from Michelangelo and Rodin. Nor is it simply that one is anesthetized to him by his progeny -- the horde of slick, sentimental "classic" sculptors whose white memorials populate every 19th century graveyard in Europe. The basic reason is that Canova's assumptions about what sculpture ought to be and do, based on his total, adoring immersion in the ideal...

Author: /time Magazine | Title: Fugues In Stone and Air | 6/15/1992 | See Source »

There is a new style in European cinema -- finally. For three decades, since Michelangelo Antonioni and Robert Bresson made anomie fashionable, European directors have dreamed -- or nightmared -- small. Their movies are dyspeptic miniatures: people sitting at a kitchen table, silent, sullen, waiting for the worst. Everybody, on both sides of the camera, has the glums. The camerabatic dazzle of, say, the French New Wave is now politically incorrect -- as if displaying any effervescence of imagination would betray a yearning for Hollywood's technical and narrative know-how. So the European cinema has aged like a movie star who retired decades...

Author: /time Magazine | Title: The Third Man Scheme | 6/8/1992 | See Source »

Thanks to the voluntary efforts of a number of our staff, several of our machines were discovered to have "Michelangelo" in residence. Without exception, it was detected and destroyed before it could activate. Nor did the presence of the virus surprise us, given the inherent increased risk associated with our scope of activity...

Author: NO WRITER ATTRIBUTED | Title: HIID Wasn't Hit by Michelangelo | 3/30/1992 | See Source »

TECHNOLOGY The Michelangelo virus creates more hype than havoc...

Author: /time Magazine | Title: Magazine Contents Page | 3/16/1992 | See Source »

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