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...sent chills down the spine of Italy. But in art, Milan has always been looked down upon as a poor cousin by such sophisticated citadels as Venice and Florence. Even today most tourists take a look at the towered Duomo (second largest cathedral in Italy), seek out the faded mural remains of The Last Supper (painted by an imported Florentine, Leonardo da Vinci) at Santa Maria delle Grazie, and hurry on to Siena, Bologna or Rome...

Author: /time Magazine | Title: Art: JUSTICE FOR LOMBARDY | 6/23/1958 | See Source »

LONG the main clients of modern architects, U.S. corporations are slowly becoming major patrons of modern art. One of the most successful examples of art for industry-result of the joint efforts of artist, architect and industrialist-is a vibrant, 8-ft. by 17-ft. mural unveiled this week in the lobby of H. J. Heinz Co.'s new $4,500,000 Research Center in Pittsburgh. From the start,recalls Gordon Bunshaft, design partner of Skidmore, Owings & Merrill, the lobby was planned for a specific kind of painting: "Brick going in on two sides, Mies van der Rohe chairs...

Author: /time Magazine | Title: Art: PAINTING FOR PRESERVES | 5/19/1958 | See Source »

...mural, in ultramarine blue, cadmium red, titanium white and mars black, could be read as a simplification of the industrial process, with diced slices at the top working down through a pinball-machine principle to end in packaged products at the bottom. In fact, says Davis, the work is pure composition. The title Composition Concreète refers to "concrete music"-sounds recorded on tape, which is cut and spliced in patterns to make a composition. This emphasis is not surprising from Stuart Davis, who says that jazz is his greatest inspiration...

Author: /time Magazine | Title: Art: PAINTING FOR PRESERVES | 5/19/1958 | See Source »

...Heinz's "57" into his work, in disguise. In the lower left portion there is a scrambled 1957, thus: 1922. This, says Davis, represents "the year it was painted, the year the building went up, and 57 Varieties." In place against its white plastic panel background, the mural is what Architect Bunshaft calls "a real head-snapper." Says pleased Preserver Heinz: "Exactly what we wanted. It gives vitality to the whole room...

Author: /time Magazine | Title: Art: PAINTING FOR PRESERVES | 5/19/1958 | See Source »

Picasso's mural for UNESCO as shown in TIME is an affront to intelligence. I've known the Daedalus and Icarus legend since I was 14 years old, but this hodgepodge gives no clue to it-with or without Picasso's explanation. Pablo burnt his wings on this...

Author: /time Magazine | Title: Letters, may 5, 1958 | 5/5/1958 | See Source »

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