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...with beauty can only breed more beauty, he believes, adding, "We have more people interested in art today than when these old masterpieces were produced." To make the turnstiles turn faster, and thus acquaint more people with their artistic heritage, he arranged in 1963 for Da Vinci's Mona Lisa to make a guest appearance at the Met, certain that it would increase museum attendance by more than a million...

Author: /time Magazine | Title: Museums: The Muses' Marble Acres | 3/19/1965 | See Source »

...Absurd, Pendulum shuns nearly every requisite for success. It shows little film sense, for its revue-style humor is more verbal than visual. It is often sophomoric, just as often wickedly funny, and has no plot whatever. To U.S. audiences its best-known players are Veteran Actress Mona Washbourne, as a pixilated aunt, and Writer-Actor Jonathan Miller (of Broadway's Beyond the Fringe), who poses as the maniacal son Kirby Groomkirby...

Author: /time Magazine | Title: Cinema: Sappy? No, Absurd | 3/12/1965 | See Source »

...European comic-strip boom. Today, Resnais told Andriola, early Charlie Chan strips fetch about $50 each, and original proofs are worth much more. Swallowing hard, Andriola replied that he had recently thrown away all his Charlie Chan proofs: "Resnais looked at me as though I had destroyed the Mona Lisa...

Author: /time Magazine | Title: Comics: The Modern Mono Lisa | 3/5/1965 | See Source »

...Duchamp has exulted in controversy. In 1913 his Nude Descending a Staircase, described at the time as "an explosion in a shingle factory," was the belly blow of Manhattan's Armory Show. He dabbled in dada in interbellum Paris by drawing a delicate mustache and goatee on a Mona Lisa reproduction. As a surrealist masquerading under the pseudonym of Rrose Selavy (c'est la vie), he exhibited his portrait on a perfume bottle, submitted a urinal titled Fountain to a 1917 salon, where it was hidden behind a screen...

Author: /time Magazine | Title: Artists: Pop's Dado | 2/5/1965 | See Source »

MORE people have probably seen Brumidi's Washington than the Mona Lisa in the Louvre. He has even been called the "Michelangelo of the U.S." But Michelangelo, at least, had rich patrons. Brumidi was paid $8 to $10 a day-the same wage that Congress allotted to the plasterers and stone masons who worked on the Capitol. His average salary, for 25 years of labor, was $3,200 a year. And he took on his last job with no assurance of payment...

Author: /time Magazine | Title: A Letter From The Publisher: Jan. 22, 1965 | 1/22/1965 | See Source »

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