Search Details

Word: painter (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

...painters had batting records, that of Diego Rodriguez de Silva y Velazquez, court painter to Philip IV of Spain, would be perfect. Not only did he paint the best official portrait of the 17th century -- the head of the wary, coarse, cunning old Pope Innocent X, in the Galleria Doria-Pamphili collection in Rome -- but he also made what is perhaps the greatest nonmythical, secular painting in all art history: Las Meninas, in the Prado. Neither is in the wonderful show of 38 paintings by Velazquez, about half lent by the Prado, which opens at the Metropolitan Museum...

Author: /time Magazine | Title: Art: Velazquez's Binding Ethic | 10/9/1989 | See Source »

...Adolf Hitler's lights, there was much to avenge. The Vienna Academy of Fine Arts twice refused to admit the apprentice painter. Very well, then, he would become an architect. But he was unqualified for further study. These rejections were aggravated by the death of Hitler's beloved mother Klara. The young man with no vices -- he neither drank nor smoked nor pursued women -- drifted in the city, living in flophouses, supporting himself by illustrating street scenes and postcards...

Author: /time Magazine | Title: Architect Of Evil | 8/28/1989 | See Source »

BENJAMIN WEST: AMERICAN PAINTER AT THE ENGLISH COURT, Baltimore Museum of Art. Period pieces today, these 52 canvases show what made "the American Raphael" (1738-1820) the toast of London and the first American artist to achieve international renown. Through...

Author: /time Magazine | Title: Critics' Choice: Aug. 14, 1989 | 8/14/1989 | See Source »

EDWARD HOPPER, Whitney Museum of American Art, New York City. A major realist painter, Hopper (1882-1967) is also an enduringly popular chronicler of New England lighthouses, late-night cafes and other American vignettes. Through...

Author: /time Magazine | Title: Critics' Choice: Aug. 14, 1989 | 8/14/1989 | See Source »

...acrylic. The grid of Scully's paintings in the '80s speaks of two things: a desire for large order and a sense of impending slippage, as though the columns and lintels of paint had to be constantly tested, as though their pinning could come apart just as the painter turned his back. They are not smoothly designed but look somewhat improvised, like the sides of large huts. They are very "New York" paintings, but the city they evoke is not the foreigner's imagined grid of perfect planes; rather it is gritty, heavy, slapped-together lower Manhattan, where Scully...

Author: /time Magazine | Title: Art: Earning His Stripes | 8/14/1989 | See Source »

Previous | 209 | 210 | 211 | 212 | 213 | 214 | 215 | 216 | 217 | 218 | 219 | 220 | 221 | 222 | 223 | 224 | 225 | 226 | 227 | 228 | 229 | Next