Word: philadelphia
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Dates: during 1950-1959
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WALTER S. MAPES Philadelphia...
...gifted Bolivian pianist, Jaime was reading music by the time he was four, received a violin when he was six and tuned it without help, correctly pointing out that the family piano was flat. The Laredos sold their house in Bolivia, finally settled in Philadelphia, where Jaime attended Curtis Institute of Music and studied with famed Teacher Ivan Galamian. In his rare public appearances Jaime astounded critics with his virtuoso technique and sweetly purling tone (TIME, May 21, 1956). "If you closed your eyes," wrote one critic, "it could have been Busch and Serkin...
Gregory W. Dickerson '59, of Adams House and Norwich, Vt., Paul J. Eakin '59, of Adams House and Shaker Heights, Ohio, David W. Ehrenfeld '59, of Eliot House and Passaic, N.J., Elliott L. Elson '59, of Adams House and Ladue, Mo., David M. Evans '58, of Lowell House and Philadelphia, Pa., Martin J. Faigel '59, of Lowell House and Lawrence, Francis E. Fendell '59, of Leverett House and Brookline, John M. Ferren '59, of Kirkland House and Evanston, III., Thomas L. Fisher '59, of Adams House and Omaha, Neb., Robert R. Foster '59, of Kirkland House and Princeton, N.J., Daniel...
...work, it now appears, in retrospect, that Carles stood so alone because he was so far ahead. As a young man he had gone to Paris, fallen under the spell first of Edouard Manet and then the postimpressionists, sipped coffee with Matisse and Brancusi. Back home in Philadelphia, where he taught from 1917 to 1925 at the Pennsylvania Academy of the Fine Arts. Carles slowly digested his European lessons, then moved on to a symphonic orchestration of colors...
Like most painters. Carles hoped for public confirmation that his new abstract direction was valid. In the socially conscious U.S. art world of the 1930s, such confirmation was not forthcoming. (In 1936 Leger visited him in Philadelphia, was amazed to find "anything like this going on in America.") Carles began painting and repainting the same canvases until they were too heavy to lift. The World War II migration of Paris painters -Chagall, Mondrian et al.-to Manhattan finally produced the understanding audience Carles longed for, but it was too late. In 1941 Carles suffered a stroke, and though he lingered...