Word: picassos
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Dates: during 1940-1949
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...Picasso exhibit is like an automobile show," quipped one Paris critic, "everybody . . . flocks there, eager to see the new models...
Last week Parisians were flocking to the government's Maison de la Pensee Française to see Picasso's latest. Most of the canvases were slightly more rakish versions of pictures Picasso had painted before. He had splashed on his oils thicker and brighter than ever; some of his nudes had developed a disconcerting habit of projecting their faces onto stark white islands above their multicolored and bulbous torsos...
...painter of vaudeville and circus subjects (The Blue Clown); after long illness; in White Plains, N. Y. A champion of modern art ("Good painters are never intellectuals; they're simply people with one-track minds"), Kuhn helped run the famed 1913 Armory Show, which introduced the U.S. to Picasso, Van Gogh, Gauguin and Matisse...
...peasant wood chopper being shot in the back gave a broad hint of why Guttuso's Italian fellow Communists now object to his work. The poster-bright colors and the shapes which looked as if they had been hacked out by a hoe were reminiscent of Comrade Picasso's art, but like Picasso's they deviated from the "realism" the party presently admires. At the opposite extreme was 52-year-old Antonio Donghi's meticulous The Hunter, which had the quiet dignity of a procession...
...Christ & Picasso. The show centered on nine paintings of the Crucifixion, done in oils on thin paper. Rose had long been regarded as a decorative, eclectic artist with a low emotional octane rating: overnight his new pictures established him as a force in British painting. Said London's Art News & Review: "This remarkable series of paintings is not romantic or expressionist, as are most Crucifixions, but may rather be described as liturgical, ritualistic, learned and arcane . . . executed with great resource and command of the medium." Describing Rose as "an artist who believes in both Christ and Picasso," the Catholic...