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...example, Ernest Trova's images of falling men--symbolic protruding bellies on smooth, molded gold forms--are pleasing rhythmically but do little to encourage the viewer's further exploration. In contrast to Trova's rather redundant imagery, are such masterpieces as Picasso's Cubist Portrait of Wilhem Uhde, Miro's playful, surrealistic compositions, Giacommetti's unique delineation of space in portraits, and the Russian, Naum Gabo's eliptical construction of string and plastic...

Author: By Meredith A. Palmer, | Title: Some Pulitzers for the Fogg | 12/14/1971 | See Source »

...shell teeth, on a house wall in Sitka? In the same way, there are painted buckskin coats and drums in the Whitney whose spontaneous, eccentric beauty of drawing is little short of breathtaking, while the bizarre and untrammeled inventiveness of some Eskimo masks would have been the envy of Miro or Picasso...

Author: /time Magazine | Title: Art: Tribes in the Gallery | 12/6/1971 | See Source »

...real thing check geo herriman s 20s illustrations which seemed to sing hello dali or miro miro on the wall

Author: /time Magazine | Title: Cinema: Golden Nonsense | 4/12/1971 | See Source »

...Civil War in Spain ground grimly on, the great names of Spanish art assembled a show at the International Exposition in Paris to demonstrate their solidarity with the beleaguered republic. Picasso was represented by Guernica, his agonized portrayal of a small town obliterated by German dive bombers. From Miro came The Reaper, a ferocious antiwar mural that has since been lost. Towering above the other works in the Spanish pavilion was a graceful, 41-ft.-high stalk of flowing concrete, by a lanky Castilian sculptor who had been commissioned by the Loyalist government in Madrid to cast his own version...

Author: /time Magazine | Title: Art: End of an Exile | 8/31/1970 | See Source »

...childhood serve as a stark backdrop for phantom figures hovering on the landscape. His sculpture frequently shows a more whimsical turn, with animals and even inanimate objects eloquently taking on human personalities, as in "Bull" or "The Root Hunter." Stylistically, Sanchez is obviously of the generation of Dali, Miro and Picasso-but with a small difference. Far more than his contemporaries, he kept a firm foot, however far away he was, on the good Spanish earth...

Author: /time Magazine | Title: Art: End of an Exile | 8/31/1970 | See Source »

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