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Throughout his long life, and for 150 years after his death, George Stubbs (1724-1806) was known as a horse painter. Never mind the Parthenon frieze, the Marcus Aurelius, the equestrian portraits of Verrocchio or Donatello, or any of the rest of the vast repertory of equine imagery in Western art: horse painting, like "sporting" art generally, tends to be seen as a minor style of aesthetic tailoring, shaped to reflect the blunt amusements of a class not much liked by connoisseurs. Painters like Sir Alfred Munnings, who filled canvas after canvas with accurate replications of poised fetlocks and lobb...

Author: /time Magazine | Title: Art:George Stubbs: A Vision of Four-Legged Order | 11/19/1984 | See Source »

...very, very bad" at drawing and says that "talent, unfortunately, is not hereditary." Nevertheless, Sophie Renoir, 20, a great-granddaughter of French Impressionist Painter Pierre Auguste Renoir, is determined to express herself. Her chosen medium is film acting (well, her great-uncle is Film Maker Jean Renoir), and her credits include The Children Are Watching, with French Heartthrob Alain Delon and a planned film this spring with Burt Lancaster. Renoir just visited New York City to preview a limited edition of 318 bronzes (initial asking price: $15,000 each) that went on sale last week after being cast from great...

Author: /time Magazine | Title: People: Nov. 12, 1984 | 11/12/1984 | See Source »

DIED. Alice Neel, 84, unconventional expressionist painter who specialized in representational but psychologically revealing portraits (including an occasional TIME cover: Feminist Kate Millett, 1970, Franklin Roosevelt, 1982) of cancer; in New York City. Neel starved during the Depression but eventually partook of the New Deal's WPA assistance. Long submerged in the tide of abstract expressionism, she was rediscovered in the late 1960s, and following a 1974 retrospective at New York City's Whitney Museum had numerous one-woman and group shows...

Author: /time Magazine | Title: Milestones: Oct. 29, 1984 | 10/29/1984 | See Source »

Vincent was ill when he arrived in Aries, jittery from booze, racked with smoker's cough. He had expected, curiously enough, that the place would look like one of the Japanese prints by Hokusai or Utamaro that had been circulating among avant-garde painters in Paris. In a way it did: the ground was covered with snow, like the top of Fuji. But soon it (and he) melted, and in his letters no less than in his paintings one sees the colors that sign his Arlesian period, the yellow, ultramarine and mauve. In the late spring, "the landscape gets...

Author: /time Magazine | Title: Art: The Visionary, Not the Madman | 10/22/1984 | See Source »

...Gogh's Arlesian work offers one of the most moving narratives of development in Western art: a painter-and, needless to repeat, a very great one-inventing a landscape as it invents him. The inevitable result is that one cannot visit Aries without seeing Van Goghs everywhere. The fishing boats on the dark beach of Saintes-Maries-de-la-Mer have gone, and the fishermen's troglodytic cottages are now replaced by anthill apartment buildings. But to see an Arlesian orchard foaming into April bloom is to glimpse Van Gogh rendering them ("Absolutely clear ... A frenzy of impastos...

Author: /time Magazine | Title: Art: The Visionary, Not the Madman | 10/22/1984 | See Source »

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