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Word: paints (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Usage:

Reginald Marsh had looked at the people, not the architecture. The bald, bull-necked Yale graduate who says "Well-bred people are no fun to paint," made his beat the Bowery, the burlesque shows, and raucous Coney Island, painted it with a Hogarthian incisiveness and strength...

Author: /time Magazine | Title: Art: Manhattans, Sweet & Dry | 8/23/1948 | See Source »

Naked Heroes. A pupil of his great-uncle Francois Boucher, David was brought up to be a boudoir painter, trained in the sentimental and erotic elegance that the court demanded. But young David was a difficult student; he simply could not learn to paint charmingly. At 27 he took off for Rome, looked at the statues and pictures, and came back a fighting antiquary. Brutus and the Horatii were his idols; he painted them to resemble the antique sculpture he admired, posturing naked and grand in a cool world. To complaints about la nudit...

Author: /time Magazine | Title: Art: David the Difficult | 8/23/1948 | See Source »

...ideal training," he says, "would combine the kind of technical skill you learn at the Boston Museum School [how to paint what you see] with the more ab stract approach [painting as a language of its own] that Black Mountain provides...

Author: /time Magazine | Title: Tomorrow's Artists | 8/16/1948 | See Source »

Michelangelo began work on the chapel in 1520, when he was 45. He had finished the Sistine Ceiling, and the 20 months spent painting on his back had half blinded him (for some time he could read letters only by holding them over his head). The Sistine Ceiling had been a hymn to creation; the Medici Chapel, De Tolnay believes, was to be a more somber hymn to immortality. Michelangelo failed to finish it. After 14 years of constantly interrupted work, the master left Florence to paint the Last Judgment for Pope Paul III in Rome, and never got home...

Author: /time Magazine | Title: Art: Out of the Night | 8/9/1948 | See Source »

Belittling the plastic experiments of his fellow Mexican muralists, Orozco once remarked that he could paint with anything, even mud. But Orozco had been mighty particular about the materials for this picture, brazenly borrowing his method from the men he had once criticized. Mixed with ethyl silicate (a chemical binder used in making industrial plaster molds), his paints were more durable than car enamel. Rain splashed down on the mural every day last week, but failed to wash anything away...

Author: /time Magazine | Title: Radio & TV: Into the Blue | 8/2/1948 | See Source »

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