Word: riche
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Dates: during 1960-1969
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GREGORIO PRESTOPINO-Nordness, 831 Madison Ave. at 69th. As a painter, Prestopino carries no excess baggage: he carves clean chunks of landscape from pastry-rich impasto, props blunt black boulders and fallen trees around like sentries, guides the eye to figures of feverish hue-orange, red, pink, green-wading in lily ponds and squatting in lakes. Recent oils. Through...
CONSAGRA AND FRIENDS-Odyssia, 41 East 57th. Five contemporary Italians wear the mantle of their rich sculptural heritage with distinction. Pietro Consagra, winner of the 1960 Venice Biennale's International Sculpture Award, carves "colloquies" in slabs of stainless steel and wood. Alberto Viani smoothes sweeping surfaces to an Arp-like elegance. Quinto Ghermandi coaxes bronze until it is as fragile as a leaf. Francesco Somaini, Best Foreign Sculptor in Sao Paulo's 1959 Bienal. makes magnificent metal meteorites both rugged and grand. Leoncillo bakes gres (a clay mixture) until his solder-colored shapes look as if they sprung...
...country was conspicuous by its absence from the list of nations receiving increased Alianza aid: Venezuela. With its close cooperation between government and industry (see WORLD BUSINESS), the oil-rich nation is in the happy position of not needing massive infusions of U.S. dollars; in the judgment of economists, it is already past the takeoff point and able to generate its own momentum for progress. The proof? While President Johnson was speaking in Washington last week, Venezuela's President Raul Leoni went be fore his Congress in Caracas to announce a four-year, $850 million public spending project...
...Rossi picked up his ninth win of the year at Yale against one setback. The lefthanded senior limited the Blue to two hits until the seventh inning, when the Elis scored all their runs on doubles by John Hunsaker and Rich Semish, followed by errors by Del Rossi and Bob St. George...
...robel against the current fad which dictates a syrupy clarinet-like sound, Marx seeks an oboe tone that is vibrant, reedy, and flexible. He liberally scorns the rank and file of American oboists who seem ashamed to play on double reeds, using, in their overweening desire for a heavy rich tone, thick reeds which hamper the development of virtuoso technique, and limit the player's freedom to phrase and vary his tone color. Obviously, Marx has no concern for playing with music, or for producting a smooth fat sound that he can drag along from note to note...