Word: mir
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...watching the Kremlin lights, ventured (before the Nobel Prize fracas) to praise Doctor Zhivago. Said Ilya (The Thaw) Ehrenburg: "The description of those days is excellent. Pasternak and I belong to the same generation, so I can pass judgment on this." But the editors of the Moscow magazine Novy Mir, to whom Pasternak submitted the manuscript in 1956, stated the Communist case against the novel. Apart from Pasternak's sympathy for bourgeois characters, they cited 1) his failure to distinguish between the several wings of the revolutionary movement and even between the February (Democratic) and the October (Bolshevik) revolutions...
...staff, which had moved in by last week, found other works more successful. A favorite was the 33-ft.-tall mobile by U.S. Sculptor Alexander Calder. Another was Joan Miró's free-standing ceramic walls (TIME color page, Nov. 3). Also widely admired was the almost-too-pretty 20th century Japanese garden, complete with arched bridge and 82 tons of imported Japanese stones, created by Japanese-American Sculptor Isamu Noguchi. Mexico's Rufino Tamayo, with his mural of Prometheus, gave viewers one of the few art works with a recognizable theme. Unfortunately...
Judge Salles and his colleagues had good reason to chuckle. Reason: the winning work was not there at all, but 3,620 miles away on two 9-ft.-8-in.-high walls at Paris' new UNESCO headquarters (see color). In a sense, the choice of Joan Miró, 65, involved some polite intramural logrolling. Both Englishman Read and Frenchman Salles are on the UNESCO art committee that commissioned the murals. "I was prepared to find something else that competed with Miró," Sir Herbert Read said, "but I didn't think for a moment the other works...
...longtime painter-around-Paris, Miró has lived in his native Spain since World War II, five years ago began new experiments in ceramics in collaboration with his old friend Josep Llorens-Artigas (TIME, Jan. 7, 1957). For the past two years he has been working hard on his UNESCO mural. Its imaginative images combine childlike delight with echoes of primitive Catalan signs and symbols. Once Miró destroyed one whole wall when it failed to please him, and began again. "Guessing the color of ceramic is like cooking a biscuit-you never know how it will come out," explained...
Some have complained that the results are close to infantile scribblings. Retorts Miró: "If no one attacked my work, it would be a mediocre thing...