Word: mir
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...exemplifies the young Londoners' qualities of depthless space, cool expertise, matte brilliance of color. He too indulges in controlled erotica when not painting buses, aircraft, and parachutists, all blurred images of speed. A Southampton engineer's son, Jones admires a curious lot of ancestors from Delaunay to Miró. Intrigued by the notion of creativity as the interaction between the male and female within each person, he often paints androgynous figures such as Hermaphrodite...
SPAIN has the most satisfying pavilion of all: a well-wrought building where cool, shadowy interiors lead to bright, fountained courtyards, an art gallery where Goya and Velásquez hang cheek by jowl with Miró and Picasso. With a stageful of vibrant flamenco gypsies and a choice of fine restaurants touting "eels from the River Tagus" and "mushrooms from the caves of Segovia," Spain outclasses most other foreign and state pavilions, many of which offer nothing more remarkable than displays of consumer goods and models of jute mills...
SPAIN has the most satisfying pavilion of all: a well-wrought building where cool, shadowy interiors lead to bright, fountained courtyards, an art gallery where Goya and Velázquez hang cheek by jowl with Miró and Picasso. With a stageful of vibrant flamenco gypsies and a choice of fine restaurants touting "eels from the River Tagus" and "mushrooms from the caves of Segovia," Spain outclasses most other foreign and state pavilions, many of which offer nothing more remarkable than displays of consumer goods and models of jute mills...
...Spain inexorably involves a set of attitudes to and by the government. The Civil War, cutting off a rich flowering of painting and sculpture, turned Picasso into a rebellious exile in France, Dali into a Franco sympathizer, Miró into a resister who stood his ground on Spanish soil. Until 1958, art and the government fought a wary underground war, and the world wondered whether the Spanish art had ended in 1937 with Picasso's Guernica...
...pies had been going to law school while painting in emulation of Miró; he gave up school to help found a group called Dau al Set to experiment in the arts. More technicians than theoreticians, the group hoped to grapple with matter, not imagery, and Tàpies still feels the need, as he says, to "throw in sand, stone, dust-something that would give me the immediateness of a crumbling wall, the feel of its crevices and its worn surfaces...