Word: miro
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...large penthouse. Fresh flowers are everywhere. Bathrooms are glass and gray slate with big round tubs. There are fireplaces in most of the bedrooms. No pictures of sailboats and sunsets; in fact, no art at all, except for a single Paul Klee or Joan Miro postcard, mincingly placed behind a candle holder...
...nine artists. Mondrian's Composition in a Square with Red Corner sold for $5.06 million, the second highest price ever paid for a 20th century painting (Yo: Picasso, a self-portrait, went for $5.83 million in 1981). Renoir's La Coiffure was gaveled down at $3.52 million; Joan Miro's Woman in the Night at $2.53 million; and Henry Moore's Reclining Figure (Festival) at $1.76 million. Sotheby's great rival, Christie's, rang up $30.6 million over two days. Most of the top-ticket items were purchased by dealers on behalf of unnamed clients...
...asylum, Charles-Elzeard Trabuc, is to receive a vivid lesson in the adjustment of manner to motif. Trabuc's cotton jacket, with its emphatic parallel stripes of blackish-blue, is as explicitly stylized as anything produced within the next quarter-century by Klimt or, for that matter, Miro. But in the head, this graphic energy is subordinated to volume, to the immobile self-containment of a man who, Van Gogh realized, "has seen an enormous amount of suffering and death." The chin and mouth are compressed, but the brow bulges irresistibly from its pale background, the relation between head...
...those familiar with the works of the author who wrote these 25 introductory words. Peter Taylor, 69, has acquired over four decades a formidable reputation and a small but fanatical following among those who care about American short fiction. For many, such Taylor stories as In the Miro District and The Old Forest have come to exemplify the current state of the art. The phenomenon of an established master attempting only his second novel, $ and his first in 36 years, is one that devotees will not want to miss...
...degree to which sculptors angled their work away from the accepted forms of social communication via the human figure. Not because they lost interest in the figure -- on the contrary, the years 1900-1950 were rich in figure sculpture and body-haunted objects by Matisse, Picasso, Archipenko, Brancusi, Miro, Calder, Giacometti and others -- but because they did not want to serve the social consensus in the way that statuary did. Consequently, few public commemorative sculptures made in the past 75 years have any real importance in the modernist canon; and conversely, modern public sculpture is mostly banal in the extreme...