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There are ideal juxtapositions, as with the Chippendale sideboard, wine cooler and pedestaled urns from Harewood House, whose rich tones of rosewood and satinwood are echoed and amplified in the glossy coats of the Stubbs horses hanging above them, borrowed from a different estate. The cast list of painters and...

Author: /time Magazine | Title: Art: Brideshead Redecorated | 11/11/1985 | See Source »

One of the very greatest drawings on the Morgan's walls is Rubens' portrait of his sister-in-law Susanna Fourment, a likeness breathed onto the paper with lyric, impalpable precision in three schematic chalks (white, black and sanguine), conveying the fullest sense of Rubens' appetite for character studies delicately...

Author: /time Magazine | Title: Art: Emblems of a Lost Tradition | 5/6/1985 | See Source »

Stubbs painted quite a few such marvels (though not, alas, the Arabian nightwalker or the Spotted Negro). He portrayed lemurs, monkeys, a rhinoceros and several leopards, and foreign animals gave him the pretext for two of his greatest images. One of these was a painting of a cheetah that had...

Author: /time Magazine | Title: Art:George Stubbs: A Vision of Four-Legged Order | 11/19/1984 | See Source »

The result was not only the largest canvas of Stubbs' career but the grandest in structure and, to modern eyes, the most suggestive. That immense, glossy brown frame of the horse, floating across one's whole field of vision, has the compulsive power of a dream image. In...

Author: /time Magazine | Title: Art:George Stubbs: A Vision of Four-Legged Order | 11/19/1984 | See Source »

The African works did not need to be masterpieces of their own style. The face of Matisse's Portrait of Madame Matisse, 1913, possibly one of the dozen greatest portraits of the 20th century, was based on a mediocre Fang mask from Gabon. Sometimes, though, a modernist work would...

Author: /time Magazine | Title: Art: Return of the Native | 10/15/1984 | See Source »

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