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...travelers with its "tourist discount." Permitting 14% to 20% discounts on items paid for in foreign cash or checks and headed out of the country, the system is unique in Europe, has spawned thriving sales of everything from cheap trinkets to Citroëns, is a major underpinning of Parisian haute couture. Now the government is moving to cool the trade with new rules that went into effect last week, tangling both tradesmen and tourists in customs red tape...

Author: /time Magazine | Title: France: Coveat Tourist | 12/8/1967 | See Source »

...softly fragmented technique in his 1792 Portrait of the Marquise de Pastoret foreshadows the pointillism of La Grande Jatte. Gustave Caillebotte's huge (7 ft. by 9 ft.), damply breathtaking Place de I'Europe on a Rainy Day sheds light from a different angle; the wealthy Parisian civil engineer, dealing with a similar promenade scene only seven years before Seurat, builds his woman's figure with much the same solidity, but he toys with reflected light on umbrellas, cobblestones and in the boulevards more realistically than did the later impressionists. Last week the museum unveiled a Rubens...

Author: /time Magazine | Title: Arts: Museums: Illuminating the Impressionists | 12/1/1967 | See Source »

Rooks' film, though visual poetry of a sort, is equally a selfish attempt at preserving past experience, the act having therapeutic overtones in this case. Chappaqua is Rooks' autobiography, the story of a 27-year-old alcoholic and drug addict who enters a private Parisian sanitarium to take a cure. The film juxtaposes the reality of the sanitarium, its doctors and attendants, with Rooks' drug hallucinations during the tortuous process of the cure, also with memories of past drug visions while still a full-time addict...

Author: By Tim Hunter, | Title: 'Chappaqua' | 11/29/1967 | See Source »

Apocryphal or not, this well-known two-liner has long exemplified the anarchy that is the Parisian orchestra. Symphonic life in Paris has almost always been a laughing matter for the rest of the world. Underfinanced, undertalented and underrehearsed, the city's three major, privately backed, week-to-week orchestras (Lamoureux, Colonne and Pasdeloup) slog through their Sunday afternoon old-hat concerts with all the esprit de corpse of Napoleon's army after Moscow. Parisian conservatories turn out some of the best instrumentalists in the world, but they have very little incentive to remain at home. Arturo Toscanini...

Author: /time Magazine | Title: Orchestras: Together at Last | 11/24/1967 | See Source »

Last June, France finally decided to spend the money, and last week a major step was taken to prove Toscanini's theory. Financed jointly by the French and Parisian governments, a new orchestra made its debut-not on Sunday afternoon but on Tuesday night. It was obvious before Conductor Charles Munch's first downbeat at the Theatre des Champs-Elysees that the Orchestre de Paris was a striking departure from the Parisian norm. Its 110 members were predominantly young (average age: 35). They were dressed alike in midnight blue Pierre Cardin tails with shawl collars and burgundy sashes...

Author: /time Magazine | Title: Orchestras: Together at Last | 11/24/1967 | See Source »

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