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...Ginza, the Yoshii Gallery, sold a Rouault oil to a collector for $2.6 million last year, and Japan's new passion for Western painting has been reflected in similarly inflated prices all the way down the line. Works by the old reliables of the Paris School-Chagall, Modigliani, Renoir, Picasso-many of inferior quality and some of them outright fakes, routinely go for 20% to 2,000% above their New York or London prices. About 500 galleries have mushroomed in Japan, and especially along the Ginza, in the past few years. Says Dealer Yoko Fukushima: "The mad Japanese buying...

Author: /time Magazine | Title: Art: Japan's Picture Boom | 1/1/1973 | See Source »

Wild Strawberries. Bergman's land-mark film, and Rules of the Game, Jean Renoir's one undisputed masterpiece, have been placed together on a double-bill during the Harvard Square Theater's Janus Film Festival. I can't think of a better evening of film. Bergman's work marked that director's broadest progression away from both adolescent psychological drama and baroque imagery, towards a mature acceptance of emotional struggle and transformation, and a pure film style based on character. Dealing with an aging doctor's recognition of his sins during a trip to Stockholm taken with his daughter...

Author: NO WRITER ATTRIBUTED | Title: the screen | 11/9/1972 | See Source »

...irrelevant off-stage aunt without adding that she holds the world's record (2,164) for reading detective stories in a single year. The hero, a cashiered British navy captain, can't simply have a pretty French mistress with a thuggish father; she must be a Renoir nude and he the head of the Mafia in Marseilles. The captain's wife can't merely be rich and willful; she must run an investment program for the most powerful family in the U.S. and have as a father and uncles the men who control...

Author: /time Magazine | Title: Books: Fall Collection | 10/23/1972 | See Source »

...rarely-played Renoir films, his 1933 Madame Bovary and 1937, La Marseillaise, neither of which looked terribly impressive at the Renoir retrospective at the '67 New York Film Festival, at CENTRAL SQUARE CINEMA TWO. Bovary 6, 10; Marseillaise 7:50 with a weekend matinee...

Author: NO WRITER ATTRIBUTED | Title: Cambridge | 10/12/1972 | See Source »

...hardly denying his right to make social statements. But like Godard, he forgets or ignores the fact that in art as implicit social criticism is far more effective than explicit didacticism. Thin of Rules of the Game. Unlike Tanner, Jean Renoir understand that the best way to show how society maltreats people was through the struggles of his characters to define themselves while playing their game. In the Renoir film we are dealing with people who are truly caught between expediency and integrity...

Author: By David R. Caploe, | Title: The Poverty of (Film) Philosophy | 10/12/1972 | See Source »

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