Word: mosers
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Dates: during 1980-1989
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...gives every culture equal time and space. The Hurons speak of a woman who started things by falling from a torn place in the sky. The first man, say the Eskimos, hatched from a pea pod. The ancient Chinese venerated a giant who burst from a vast egg. Barry Moser's illuminations treat these legends with dignity and delicacy, and go on to show dozens of other prime movers, including a feathered serpent, an octopus and Pandora. As the paintings prove, each figure is not only a people's fantasy but also an illustrator's dream...
...since early slave days, and his sly outwitting of bullies and bosses is history disguised in fur and interpreted by the victims. Jump Again! (Harcourt Brace Jovanovich; $14.95) demonstrates that a classic offers something fresh to each generation. This time it is Van Dyke Parks' riotous retelling and Barry Moser's elegant watercolors. Beneath the new surface, of course, the hero is instantly familiar, once again outmaneuvering Brer Fox, Weasel and Bear, winning the paw of Miss Molly and proving graphically that when trouble comes, "There's always...
...certainly not the first university to have an on-line system," said Bryan R. Moser, president of MIT's Undergraduate Council, adding that students recognize the new system as an "added resource...
...design and architecture, however, there was a strangely short period of clarity and balance just after the century turned, an aesthetic blip that coincided with the fruitful first few years of the Werkstatte. Hoffmann, Moser and its other founders, repelled by the residual fairy-tale flourishes of aging Jugendstil (literally, Youth Style, the German Art Nouveau), sloughed off applied ornament and embraced elemental geometries -- the right angle, the circle, the sphere. In his thoughtful, gracefully written catalog for MOMA, Adjunct Curator Kirk Varnadoe says that Moser and Hoffmann were out "to recover richness from reduction." The result, briefly...
...terribles Egon Schiele and Oskar Kokoschka (see following story) had their first shows of paintings in Vienna. Their intense, expressionist works did not flirt, like Klimt's gilded sultanic pictures, with bourgeois prettiness and what the catalog calls "proto-psychedelic sweetness." Schiele, who died young (in 1918, along with Moser, Wagner and Klimt), has been the subject of more passionate popularity than Kokoschka over the years: his images were the more earnestly pained and ugly. As Varnadoe writes, Viennese arts had lost their capacity for compromise between "the giddy and the sullen...