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Last Testament. That Braque was the greatest formal artist of the 20th century is hardly in doubt; nor have many painters since Piero della Francesca displayed such a perfect command over a complex pictorial structure. But in the process he made some of the most mysterious images in modern art: the series of studio interiors, with a white bird flying across them, that preoccupied him in the early 1950s and were his last testament. Their culmination was The Studio VIII...

Author: /time Magazine | Title: Art: Objects as Poetics | 10/9/1972 | See Source »

Some of the greatest art is ineloquent. It does not argue or get into expressive tangles. Most of La Tour's surviving work lies on this latitude of the imagination, sharing it with other purifiers of experience: Piero della Francesca, Poussin, Cézanne. Its fundamental condition, the mood of La Tour's key paintings, is a kind of analytical silence: a stillness that mediates between the logic of Descartes and the mysticism of Pascal, both of whom were La Tour's approximate contemporaries. To see the candle flame play on the faces of La Tour...

Author: /time Magazine | Title: Art: An Analytical Stillness | 7/3/1972 | See Source »

...Died. Piero Calamai, 75, captain of the Andrea Doria when, on July 25, 1956, the Italian liner collided with the Stockholm off the Nantucket coast and sank; in Genoa, Italy. Though a naval veteran of 39 years and both World Wars, Calamai retired to the hills of Liguria following the inquiry into the collision and never ventured to sea again...

Author: /time Magazine | Title: Milestones, Apr. 24, 1972 | 4/24/1972 | See Source »

Because Reggio is politically conservative, much of the Italian press reflexively labeled the demonstrators fascists and hooligans. Few fit the description; the revolt has cut across class barriers. As Reggie's aptly named Mayor Piero Battaglia declared, "This is a citizens' revolt...

Author: /time Magazine | Title: World: Italy: No Saints in Paradise | 10/26/1970 | See Source »

When summoned to Pablo Picasso's Riviera villa last March, Paris Printer Aldo Crommelynck packed only one clean shirt. There had been many previous summonses in the 20 years that Crommelynck, 37, and his brother Piero, 34, had been privileged to print the master's occasional engravings. The brothers even found it worthwhile to keep a small printing press in an atelier near Picasso's house, enabling the impatient artist to view proofs without delay. From those earlier calls, Crommelynck fully expected to run off proofs of one or possibly two new engravings-all Picasso ever seemed...

Author: /time Magazine | Title: Graphics: Erotica at 87 | 1/31/1969 | See Source »

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