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...main exhibit in the Spanish pavilion is a room-size sculpture, featuring an oversize bed frame, wire mesh and chairs, by Antoni Tapies. Tapies 30 years ago was a painter of great distinction, but on the evidence of this cumbersome and vapid work, he has no talent for sculpture; he is there because the Spanish fixedly believe he is the successor to Picasso and Miro -- a nationalist illusion. The British pavilion, which in previous Biennales walked away with the show -- Frank Auerbach, Howard Hodgkin and the sculptor Tony Cragg -- contains a disappointing survey of recent work...

Author: /time Magazine | Title: A Shambles In Venice | 6/28/1993 | See Source »

Auteuil's performance is heroically blank. He doesn't explain Stephane's emotional numbness, nor does he editorialize against it. He allows his lure for dear Camille to remain a mystery, like so many romantic attractions. But then Beart (Manon in Manon of the Spring, the painter's model in La Belle Noiseuse) is an actress of such extraordinary beauty that any time she falls in movie love she seems like a goddess slumming. Her radiant face is , therapeutic. A glance from her should thaw the frostiest heart...

Author: /time Magazine | Title: Love Between The Lines | 6/21/1993 | See Source »

...number of works of art. Luckily, none of them were Botticellis, Michelangelos, Leonardos or Titians. Paintings by 17th century followers of Caravaggio (two by Bartolommeo Manfredi and one by the Dutch artist Gerrit van Honthorst) were totally destroyed, and several others, including an important work by the Venetian painter Sebastiano del Piombo, were shredded by flying glass. No doubt the terrorists, whoever they were -- and Italian authorities seem to be in little doubt that the beleaguered Mafia set the bomb -- would have much preferred to have taken out Botticelli's Birth of Venus, Michelangelo's Doni Tondo and perhaps...

Author: /time Magazine | Title: Striking At the Past Itself | 6/7/1993 | See Source »

...began to buy in earnest, first through his friend the American painter William Glackens, and then during his own trips to Paris. His main aesthetic guide in collecting was art critic Leo Stein, Gertrude's brother. His intellectual mentor was the educator John Dewey, whose book Democracy and Education formed his ideas about education for "the masses" through art. After 1918, Barnes' acquisitions became obsessive. His biggest spree was in the early '20s, when he went charging through Paris waving his checkbook (earning the disapproval of Gertrude Stein, who thought him vulgar) and haggling like a mule trader. The postwar...

Author: /time Magazine | Title: Art: Opening The Barnes Door | 5/10/1993 | See Source »

...something apart from academic atelier practice, and it fitted perfectly into the general move among artists at the end of the 19th century to refresh art from hitherto unused sources. One of the first artists to imagine a link between iron forging and formal sculpture was a minor Spanish painter, Santiago Rusinyol, an impassioned collector of the ironwork in which the smiths of his native Barcelona had always excelled. "I think of those forges of old Barcelona," he wrote in 1893, "where instinct was set free. There, in the darkness . . . I think I see springing from the fire...

Author: /time Magazine | Title: Art: The Iron Age Of Sculpture | 5/3/1993 | See Source »

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