Word: portraited
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...sale of impressionists and moderns set a one-night record -- an astonishing $42,372,000 -- and individual milestones for nine artists. Mondrian's Composition in a Square with Red Corner sold for $5.06 million, the second highest price ever paid for a 20th century painting (Yo: Picasso, a self-portrait, went for $5.83 million in 1981). Renoir's La Coiffure was gaveled down at $3.52 million; Joan Miro's Woman in the Night at $2.53 million; and Henry Moore's Reclining Figure (Festival) at $1.76 million. Sotheby's great rival, Christie's, rang up $30.6 million over two days. Most...
...just can't seem to learn a lesson, because he is hardly being punished. One would think that Dennis Levine, who "pushed the domino over" for Boesky when he was busted for insider trading to the sum of $12.5 million, would be a portrait of leniency when compared to Boesky's case. Levine is now awaiting sentencing which could place him in jail for 25 years...
What photographer satisfied the biographical requirements for an artist better than Edward Weston? Like Gauguin, he made a mid-life lunge for the southern latitudes, putting family and studio on hold while he pondered the cactus in Mexico. His "commercial" portrait work he churned out with contempt, all but using one hand to press the shutter and the other to hold his nose. And among his remarkable inventory of lovers were the kind of women who not only danced naked for his camera but brought along their own finger cymbals...
...dual nature unified in Weston's work was evident early in his life. He was 20 when he left his home in a Chicago suburb to visit a sister living in a quiet town near Los Angeles. Eventually he was married there, established a portrait business and fathered the four sons whom he loved fiercely all his life. But a part of him resisted domestication just as fiercely. He found his friends and lovers among the pioneer enclaves of the West Coast counterculture, attic dwellers who shared his penchant for vegetarianism and modern...
...Modotti and one of his sons. He spent the next three years rubbing shoulders with the muralist Diego Rivera, dodging the postrevolutionary turmoil and making pictures under the Mexican sun that specifies every object it falls upon. Among them were a series of vivid head shots, like his startling portrait of Manuel Hernandez Galvan, 1924, that use the subjects' plain vitality to confound the impassivity one expects from monumental figures. The Mexican portraits show that Weston had absorbed the principles delivered to him by Alfred Stieglitz, words that Weston later summarized as a "maximum of detail with a maximum...