Word: moselsio
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Dates: during 1940-1949
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Like any typical Paris sculpture show of the 19303, Director Valentin's U. S. exhibition was long on abstractions and elephantoid nudes, short on frock-coat portraits and winsome nymphs (exceptions: Simon Moselsio's sloe-eyed Nude, John B. Flannagan's dreamy bronze Mother and Child-see cuts). None of the pieces showed any recognizable relation to the U. S. scene. Most abstract of all were: 1) a nut-&-bolt portrait by David Smith, virtuoso in scrap iron (TIME, Nov. 18); 2) a jittery, swaying mobile made out of fence wire and iron by U. S. Mobilist...
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