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...modernist paintings. Swank gallery connections, smartchart plugging, the humors of art critics and socialite fads too often puff them out of line with real values. Last week for the first time since 1927 works by such debatable modernists as Amédé Modigliani, Marie Laurencin, Pablo Picasso, Jules Pascin and Maurice Utrillo were opened to the rude winter blast of a public auction in Manhattan's Rains Auction Rooms. Before a hard-boiled dealer and socialite crowd, one of Modigliani's tuberculous women sold for the evening's top price, $3,300; another...

Author: /time Magazine | Title: Art: Winter Auction | 2/19/1934 | See Source »

Emil Ganso has been called the artistic heir† of Jules Pascin (pronounced Pass-kin, born Pincas, first name unremembered, in Bulgaria of a Spanish-Jewish father and a Serbo-Italian mother) who slit his wrists and hanged himself on his Montmartre bedroom doorknob in 1930 (TIME, Jan. 19, 1931). Ganso was Pascin's star pupil. Pascin is still Ganso's model as an artist. Ganso paints and draws the same loose-hipped women, is partial to the same drooping, bulbous com position. Like Pascin, he makes a fetish of loyalty to his friends. Unlike Pascin, who hated...

Author: /time Magazine | Title: Art: Beauty & the Baker | 7/18/1932 | See Source »

...baking and art. In 1926 he began to be noticed. His etchings, lithographs and aquatints were better than his water-colors and oils but he kept at them all. He has been called the best U. S. printmaker. His work has a delicate classical line, softened and broken by Pascin sensuousness. His figures have virginal faces, long, well-hinged bodies...

Author: /time Magazine | Title: Art: Beauty & the Baker | 7/18/1932 | See Source »

...property heirs were Pascin's wife and mistress who peaceably divided his considerable fortune...

Author: /time Magazine | Title: Art: Beauty & the Baker | 7/18/1932 | See Source »

...most striking picture of the show is "Le Chapeau a la Rose" by Jules Pascin. With its pale green background, its delicate brown and rose colors, set against the oak panels of the common room, one cannot help but wish it could be permanently placed there...

Author: By O. W., | Title: Collections and Critiques | 2/16/1932 | See Source »

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