Word: miro
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Dates: during 1950-1959
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...with wire sculptures. He created out of wire a whole circus, complete with leaping trapeze artists, jumping kangaroos and horse-hurdling bareback riders. Their mobility, controlled by springs and a master crank, charmed a Paris Left Bank audience that included Jean Cocteau, Pablo Picasso, Fernand Leger and Joan Miro. The mobile was being born...
...Galleria Blu with 20 paintings which showed that as an artist he is haunted by the great styles that make up the 20th century artistic breakthroughs and yet has a recognizable stamp of authority and color mastery all his own. Homage to Soldiers (see cut) owes a debt to Miro; his Four Bathers carries echoes of Picasso and Braque. But Pirandello's interest in the human form (he first studied to be a sculptor) keeps them well on this side of abstraction. Says Italian Critic Lionello Venturi: "He is the most human painter in postwar Italy...
...represented at his most fanciful and most substantial, Braque displays his talent for being perennially so very right, and Rouault, as usual, exhibits as much profundity in a landscape as in a crucifixion. It is good to see less exhibited figures such as Villon and Masson included, though Miro, Leger, Mondrian and the sculptor Lipschitz receive perhaps less than their...
...Peter Welch, who called on him last week to get his views on the relationship of outdoor sculpture to modern architecture. From the Parthenon Breuer moved quickly on to his UNESCO building, which is being put up in Paris with sculpture and murals by Henry Moore, Alexander Calder, Arp, Miro and Picasso. As Breuer talked, he doodled his ideas on a piece of paper lying on his desk (see cut). The story and the page of color pictures that started all this are laid out in ART, Sculpture Outside...
This provides formidable competition. Next to Rouault, Max Beckmann's strength, coherent though it is in both still life and portrait, becomes an inflexible and dry stiffness. Bradley Walker Tomlin's vivid pattern of color dabs appears insubstantial and weak. Even Miro's usual verve and wit fail to bring his Lasso to satisfying completeness. Yet, such free-swinging abstractions as Toti Scialoja's or Richard Diebenkorn's, have far less to say. Their absence of representational basis is perfectly acceptable but their lack of aesthetic articulation...