Word: miro
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...Minneapolis Journal, it would have been the exact reverse of a ceremony that took place in Manhattan. Instead, La Prensa of Buenos Aires, El Comercio of Lima, Peru, got the awards. And Professor Gollan (who is also Sunday editor of La Prensa) received them with Dr. Luis Miro Quesada, president of the board of El Comercio...
...Lefevre Galleries off St. James's Square. Eight Picassos of different periods (he has had eight so far: Realist, Toulouse-Lautrec, Blue, Rose, African, Cubistic, Neo-Classical and Surrealistic) were surrounded by canvases by Bauchant, Bonnard, Braque, Dali, Derain, Dufresne, Dufy, La Fresnaye, Leger, Lurçat, Matisse, Miro, Modigliani, Pascin, Redon, Rousseau, Rouault, Segonzac, Soutine, Utrillo, Vuillard...
...people. There are also mystic lozenges, snaky lines and blobs which apparently are respectively symbols for mountain, rain and root. For briskness of conception, facility of line, the Mtoko paintings struck critics as being plastics of considerable honest merit in themselves. A small show of advanced abstractionists like Klee, Miro, Arp and Masson was added to the exhibit by Director Barr to show that some living painters are not very distant in spirit from the Mtoko masters...
Surréalisme is a complicated Freudian school of art which numbers among its aims an attempt to express the subconscious by portraying distortions of familiar objects. Its leaders are Joan Miro and Salvador Dali who this week in Manhattan's Julien Levy Gallery exhibited his latest works. He had drawn people with roses for eyes, lamb chops for lips, an aged man with a lobster on his head, a melting grand piano. Claiming to be "obsessed" with Millet's Angelus, he showed variants of the motif with wheel-headed gleaners picking up forks and a poached...
Speicher. Poles apart are Joan Miro and Eugene Speicher who last week gave his first exhibition in five years at Manhattan's Rehn Galleries. With his feet firmly on the ancient tradition of graphic arts, Artist Speicher has grown firmer in his draughtsmanship, more sure of what he wants to say with each passing year. In 1929 he seemed an able, uninspired follower of the late great George Wesley Bellows, without the latter's vivid interest in living problems. In 1934, as in 1929, Eugene Speicher remains wrapped in the penciled brows of his statuesque beauties, though technically...