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...shapes literally allude to flame or cloud. They are meant to convey a sense of pantheistic energy, of intense mood and vigorously articulated feeling-to substitute, in fact, for nature it self. For Still's admirers, this invites comparison with the greatest lyrical nature cycle in modern art, Monet's Water Lilies. Still's vocabulary is too narrow, his style too hectoring and coarse for that. But to have reached this terrain of feeling, and stayed on it for 30 years, is no mean achievement. It makes Still's Met exhibition one of the outstanding events...

Author: /time Magazine | Title: Art: The Tempest in the Paint Pot | 11/26/1979 | See Source »

...built up the museum's reputation and staff and amassed a $2 million endowment for acquisitions. A naturalized citizen, de Montebello returned to the Met in 1973 and worked on some of the blockbuster shows ("Treasures from the Kremlin," "Monet at Giverny"). Named director of the Met in May 1978, de Montebello plans to downplay the role of special events and make the museum's treasures more routinely accessible. Says he: "I want people to get used to the idea of dropping in to see familiar objects they love...

Author: /time Magazine | Title: Special Section: 50 Faces for America's Future | 8/6/1979 | See Source »

...point of his career was in the 1940s. He decided, in a mood of perversity, to paint "modern art" -pictures full of impressionist fuzz and expressionist slather. The Gorgon, 1943, a wretched parody of Monet applied to a surrealist syntax, may be the least inept of these. If anything, they showed how far Magritte's real gifts lay from the orthodox processes of modernism. Nor did his first essays in the surrealist manner, done in 1925-26, indicate much about the artist to come; they are, for the most part, grab bags of motifs from other painters, chiefly Ernst...

Author: /time Magazine | Title: Art: Enter the Stolid Enchanter | 3/5/1979 | See Source »

Some artists so possess their landscape that the real place, visited for the first time, can look like a replica of their work. France is full of examples-the banks of the Seine seen as a Monet, the imprint of Cézanne on the red earth and twisted roots of the Midi, the Matisses latent in every curlicued balcony in Nice. In the same way, Cornwall is Ben Nicholson's territory. Insistently, and often without depicting landscape at all, his paintings have altered several generations of responses to that green ledge of land, shelved with granite and glittering...

Author: /time Magazine | Title: Art: Landscape on a Tabletop | 1/22/1979 | See Source »

...similar appeal as seeing old movies over and over again. You go to quell your nostalgic urges, to see your time - honored favorites, whether it be the joy of watching Dorothy prance down the Yellow Brick Road for the umpteenth time or the sight of a particular Monet haystack. For the most part, however, new ideas are rarely perceived; you end up looking for your special favorites and tend to ignore the rest. Whatever insights are made usually concern the philosophy of nostalgia rather than revelations about the subject concerned. Such would be the case for the retrospective show...

Author: By Lisa C. Hsia, | Title: Intricacies of the Art | 8/4/1978 | See Source »

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