Word: rodins
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Just how daring Lipchitz is in breaking new trails, European gallerygoers are now excitedly discovering. On tour is Lipchitz' biggest retrospective show, 116 sculptures covering nearly half a century's work. "One has to go back to Rodin and beyond that to Michelangelo to be able to match this experience," raved one Rotterdam critic. Dutch Sculptor Leo Braat said, "This work is anything but a play of forms; it is an act of faith, a revelation.". In Basel, Switzerland, where the exhibition opened last month, critics greeted Lipchitz as "the greatest cubist among sculptors." Ahead for the show...
...Cubist. When, at 18, Lipchitz first arrived in Paris from his birthplace in Lithuania, his taste was for the classic Greeks. His early works won the praise of the aging Rodin. Then Mexican Painter Diego Rivera took him to Montmartre to meet Picasso. Soon Lipchitz was the kid cubist, friend of Painter Juan Gris and Patron Gertrude Stein, and flat broke...
...avid collecting before his death three years ago. the man all Rotterdam knew as "D.G." gathered together so many works that he was forced to hang Rembrandt drawings inside cupboard doors. Other artists in the collection included Rubens, Dürer. Michelangelo, Van Ruysdael. Goya. Titian, Van Gogh and Rodin; among the best works were Jan van Eyck's The Three Marias, Bruegel's Tower of Babel. Experts put the value at more than $25 million...
...artist, had barely begun when he developed tuberculosis, spent six months in a sanatorium, followed by four years of convalescence. "Those were the most valuable years," says Hjorth. "I began thinking and experiencing nature.'' Finally cured. Hjorth switched to sculpture, went to Paris to study with Rodin's famed pupil. Antoine Bourdelle dabbled in cubism, finally found his artistic forefather in Paul Gauguin...
...suffer the fate of going unnoticed in an exhibition of paintings, as if their contribution was to be taken as decor, and it is good to see first prize go to a sculpture of remarkable proficiency. The work is actually a series of three pieces, akin in conception to Rodin's The Hand of God. Buscaglia might do well in the future to exhibit each separately. Each is capable of standing alone and each, despite their continuity, tends to lessen the importance of the other...