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Long before the Socialist delegates began filing into the cavernous Parc des Expositions on an island in the Garonne River, the battle lines on how best to resolve the party's problems had been drawn. On one side was a loyalist camp, known as the Mitterrandistes, whose advocates argue that the Socialists must not abandon their original constituency on the left. The loyalists are opposed to a coalition with centrist groups, even if the Socialists take a drubbing in next year's elections and want to leave the door open for a revival of the old alliance with the Communists...

Author: /time Magazine | Title: France a Time for Soul-Searching:Mitterrand's troubled Socialists | 10/21/1985 | See Source »

...Constructivists used descriptive space, a making of positive from a previous void. In much of the optical and kinetic movements, one sees the Constructivist concern for space rather than for mass reiterated, especially in the French group, La Groupe de la Recherche Visuele, that includes such pioneers as La Parc and Agam. From Gabo and Pevsner's use of spatial structure comes spatial drawing as manifested in Alexander Calder's mobiles and stabiles, Anthony Caro's I Beams or even Picasso's wire sculptures...

Author: By Meredith A. Palmer, | Title: Construct, In Russian, Doesn't Mean Carving Soap | 2/10/1971 | See Source »

...only common ground of the paintings on exhibit is that each was conceived on French soil during this century. Everything from Bonnard's impressionism to mirror-mobiles by Argentinian Julio le Parc can be found in it. Regrettably, in cutting back the show to fit limited gallery space here in Boston, the very most recent works--pop, op, neo-surrealist, have born the brunt of sacrifice. The point of the show, and the point of Paris, is its newness, excitement and freedom. No one has ever accused Boston of the same...

Author: By Betsy Nadas, | Title: Painting in France 1900-1967 | 6/10/1968 | See Source »

...buying appointments at 7:30, then rushed to catch the shows, and often worked late into the night studying color samples. There is an elaborate air of secrecy surrounding the whole thing. Ohrbach's buyers, for example, made a point of staying at the less conspicuous Elysee-Parc Hotel, because few, if any, other buyers were staying there. At the shows, each team was furnished long lists of dresses, skirts and jackets to be modeled, ticking off items that they especially liked. "I always marked lots more than I really wanted," said Ohrbach's Fashion Director Irene Satz...

Author: /time Magazine | Title: Fashion: The Mad Three Weeks | 9/1/1967 | See Source »

Nina Stevens, as it happens, is not a partisan of Russia's equivalents to Rauschenberg or Julio Le Parc. Her preferences center around a group of Moscovites over 30 whose academic indoctrination was interrupted by World War II. They work as book illustrators or in publishing houses. Their paintings are frequently primitive, but often by design as well as accident, since many of them are familiar with the work of French Brutalist Jean Dubuffet and Mexican pre-Columbian art. Above all, they hark back to the powerful, stylized tradition of Russian icon painting that flourished between the 15th...

Author: /time Magazine | Title: Painting: Unrealism in Moscow | 6/30/1967 | See Source »

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