Word: monetization
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...artistically inclined, the Museum of fine Arts (MFA) at the Museum T stop on the Green Line houses a comprehensive assortment of international art. The museum boasts an impressive collection of impressionist paintings, including 35 works by Claude Monet. To save money, be sure to stop by Wednesdays from 4 to 9:45 p.m., when admission is free...
...were less original than the great American figures of the 19th century: John James Audubon, Frederick Church, Thomas Eakins, Winslow Homer. You were likely to be running behind the tick of the big clocks in Paris and Berlin whether you were Childe Hassam doing Impressionist streetscapes 30 years after Monet or a New York abstractionist producing ideal geometries in the early 1940s. "We all steal," said Arshile Gorky to Ilya Bolotowsky. "You steal from Cahiers d'Art [a French art magazine of the '30s]; I steal from Cahiers d'Art. The only difference is I steal better than you, because...
Those still recovering from the Monet show can get their next impressionist fix at the MFA's new exhibit, "Mary Cassatt: Modern Woman." Through May 9. Museum of Fine Arts, 465 Huntington Ave. 267-9300. Saturday and Sunday, 10 a.m. to 5:45 p.m.; Monday and Tuesday, 10 a.m. to 4:45 p.m.; Wednesday through Friday, 10 a.m. to 9:45 p.m. FREE with Harvard...
...dark was for him what sunlight was for Monet, an astonishment, an eternal element that his chosen medium had never been able to "get" before. In 1933 he published Paris at Night, a book that instantly secured his reputation and remains one of the milestone volumes of 20th century photography. A picture like L'Avenue de l'observatoire in Autumn is about nothing so much as just dark and light. Its unsentimental main "subject" is a car-headlight beam. A bit as Weegee did in New York City, Brassai hit below the beltways of Paris. What he liked best...
...that clashed in the riots. The audience is divided by these pendants into neighborhoods; Black, Korean, Latino, White, "drawing the audience into the conflict," according to Chang. Though each drop is well conceived in its own right, the aesthetics clash fiercely against one another. One in pastels looks like Monet in Watts; another (depicting the poor black neighborhoods) could be mistaken for an Ade Bethune woodprint. The effect is intentionally distasteful. Like the dialogue, each neighborhood is beautiful in isolation to the others, but the combination is discordant...