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...late '60s, and first showed in 1970, looked so unlike his established work that they seemed a willful and even crass about-face. Instead of the Gustons the art world knew-abstract paintings with vaporous, knitted surfaces of pearl gray and subtle pinks, like fragments of Monet lily ponds with hints of Turner's clouds and sea fogs-they were, of all unlikely things, political images: fat Ku Kluxers riding around in cars, nooses, stubbled faces in claustrophobic, smoke-filled rooms. For several years before that, not much had been seen of Guston's work...

Author: /time Magazine | Title: Art: Reflections in a Bloodshot Eye | 8/3/1981 | See Source »

...quite coincide with the old. This is true of modern art, too, which itself has become old; and it even applies to impressionism, the most accessible, popular modern movement of all. Sometimes later styles "reinterpret" earlier ones, as abstract expressionism fostered the present veneration of the late works of Monet...

Author: /time Magazine | Title: Art: Impressionism's Oak-Tree Uncle | 6/15/1981 | See Source »

Pissarro was the least spectacular of the impressionists. An eye used to Monet (and Monet is what many people believe impressionism was all about) will be apt to find Pissarro conservative-more of a tonal painter, almost, than a colorist...

Author: /time Magazine | Title: Art: Impressionism's Oak-Tree Uncle | 6/15/1981 | See Source »

...against the pictures, Gauguin's irritable verdict that Pissarro was a good second-rater, "always wanting to be on top of the latest trend ... he's lost any kind of personality, and his work lacks unity." So although there has been no lack of Degas shows, Monet retrospectives, homages to Cézanne and museum tributes to Bazille or Caillebotte, Pissarro has remained less known-an irony, since, with his peculiar steadfastness and probity, he was the linchpin of the impressionist group...

Author: /time Magazine | Title: Art: Impressionism's Oak-Tree Uncle | 6/15/1981 | See Source »

...good barbell for beginning weight lifters, is a collection of Harrison's photos, reflections and lyrics. Many of these are printed not only in elegant type but also in their original scribbled state, with inks and stationery letterheads reproduced with the craft and fidelity usually reserved for a Monet. Though he wrote Here Comes the Sun and Something, Harrison was not the foremost of the Fab Four as everyone - perhaps including George himself - would agree. "The small change of a short lifetime" is the way he describes the contents in a foreword. "I have suffered for this book...

Author: /time Magazine | Title: Music: Rumination and Ruination | 9/15/1980 | See Source »

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