Word: picasso
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Dates: during 1970-1979
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...different wavelengths punctuated by silence and bursts of static. The work responds to an edgy sensibility: Europe of the '20s and '30s, and Northern Europe at that, the dictators' playground. When the Mediterranean world appears, it is not the, sumptuous place imagined by Matisse or Picasso, but either Catalonia or the seedier Levantine environment of Cavafy's Alexandria. Its heroes, whose ghostly presences are often quoted in Kitaj's paintings, are the shipless helmsmen of modernism, the rootless cosmopolitans like the couple in Where the Railroad Leaves the Sea (1964). Kitaj paints wandering Jews...
With its two dimensions, painting can only represent space. But sculpture has three. It can absorb space into its own fabric. One of the key moments in this development came in 1912, when Pablo Picasso, then 31, snipped and bent some sheet metal into the semblance of a guitar. It was a guitar that might have been lifted from one of his own cubist still lifes, an open object defined by thin planes. The folding of the tin imitated the layered, overlapped look of the paintings: it was cubism made literal. This battered-looking object is Exhibit...
...brief illness; in Cologne, West Germany. Invited at age 18 to join the Ballets Russes by Impresario Serge Diaghilev, who admired "his deep burning eyes in a face already touched by melancholy," the Moscow-born Massine scored his first great success in 1917, when he collaborated with Artist Pablo Picasso, Writer Jean Cocteau and Composer Erik Satie to produce Parade, thus turning the ballet world toward modernism. The wiry dancer, a naturalized U.S. citizen, was probably best known to the general public for his film performances in The Red Shoes and Tales of Hoffman...
...journalists who cover TV consider Paley, 77, a particularly elusive subject, but Clarke discovered the chairman of CBS to be gracious and cooperative. Their 1½-hour meeting took place in Paley's office, a "wonderfully opulent but understated room," according to the TIME visitor, with paintings by Picasso and Rouault and a chemin defer table from Paris now used as a desk and, for this occasion, a tape recorder. "I asked Paley if he minded if I used my tape recorder," says Clarke. " 'No,' he replied, 'as long as you don't mind...
Magritte died in 1967, aged 68, but his work continues to serve its modern audience rather as the sultans of Victorian academic painting, the Friths and Poynters and Alma-Tademas, served theirs a century ago-as storytellers. Modern art was supplied with mythmakers, from Picasso to Barnett Newman. But it had few masters of the narrative impulse, and Magritte, a stocky, taciturn Belgian, was its chief fabulist. His images were stories first, paintings second, but the stories were not narratives in the Victorian manner, or slices of life or tableaux of history. They were snapshots of the impossible, rendered...