Word: piero
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Dates: during 1980-1989
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...past 300 years. It is as though Velazquez has never been seen as anything but the summit of excellence in art, embodying a degree of intelligence, pictorial skill and lucidity of realization that defy not only imitation but, in some final way, analysis itself. He is to realism what Piero della Francesca is to abstraction. First Edouard Manet and then a whole succession of French painters from the 19th century into the 20th (not to mention English and American ones as well, in particular Sargent and Whistler) were transfixed by Velazquez when they found him on their pilgrimages...
...show contains a few further surprises, such as the gritty and beautifully painted domestic dramas of Fausto Pirandello (1889-1975) and the best of all younger Duchampians, Piero Manzoni (1933-63), whose balloon full of artist's breath and cans full of artist's feces are wonderfully prophetic satires on a market mania whose present inflation he could scarcely have imagined...
...universal drain stopper for Samarkand and a pepper mill on any trip. If you fancy a great British breakfast in London, bypass Claridge's and make for Fred's, a transport cafe in the East End docks. If you want to find the "timeless serenity" of the Tuscan master, Piero della Francesca -- well, there are a number of things you should do, and they are all set out with a welcome absence of guidebook rhetoric or literary flourish in this insistently readable book. The author, who was London bureau chief of the New York Times from 1977 to 1985, must...
...stuff of Picasso's and Laurens's cubist constructions) to the wire and celluloid favored by constructivists, the steel plates and boiler ends forged by Smith, and so on down to rocks, twigs, burlap, twine or even the artist's own dung, which, canned and labeled by the Italian Piero Manzoni in 1961, provided a nastily prophetic comment on fetishism in late modern art. On its road away from statuary, sculpture gained a new depth of cultural resonance, a flexibility of invention, an access to the inner self, a power of aggression and a weird, self-reflexive playfulness...
...moved to Port'Ercole, Italy, where, he says, "a permanent fixation on Italian painting from the birth of Masaccio to the death of the younger Tiepolo took over." The experience proved fatal to Hughes' artistic career. He renounced painting because, he says, "having been to Arezzo to see the Piero della Francesca frescoes of the Legend of the True Cross, I realized that I could never in conscience give my own work a decent review." After nine years of free-lance writing he came to TIME in 1970. Today, he says, "I think of this job as the best possible...