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Before Bath, there is an innocence to Gainsborough's portraits that occasionally looks almost spectral: the early figures of Heneage Lloyd and His Sister, round-eyed adolescents in a rococo garden, look like large pale dolls haunting an artificial landscape. Confidence came with his absorption of the grand manner...

Author: /time Magazine | Title: Art: Laureate of the Ruling Classes | 10/27/1980 | See Source »

That sense of being "always at the frontiers" of history itself is volatile, and it began to evaporate from Picasso's work before the end of World War I. It left behind a residue, however: his virtuosity. Around 1918 he found his first public, a small enough group compared with...

Author: /time Magazine | Title: The Show of Shows | 5/26/1980 | See Source »

The image of the hero on horseback -human intelligence bending brute nature to its command-was central to Renaissance art, and its main antique prototypes were the Marcus Aurelius, an equestrian statue in Pavia called the Re-gisole (long since destroyed) and the San Marco group. Almost all the major...

Author: /time Magazine | Title: Art: Thoroughbreds from Venice | 3/10/1980 | See Source »

"The difference between a madman and me," Dali is often quoted as saying, "is that I am not mad." Indeed, he is not; and that is why the Pompidou Center is crowded. Dali's public hopes to meet a mind which fulfills its two ruling clichés about...

Author: /time Magazine | Title: Art: The Soft Watch and the Beady Eye | 3/3/1980 | See Source »

By the 1600s, Venice, once the amazement of the world and the ruler of a considerable part of it, was starting the long decline into the salty tourist trap the city is today. For almost 200 years, starting with the capture of Constantinople in 1453, the Turks had been snapping...

Author: /time Magazine | Title: Art: After Titian, Venice Observed | 9/24/1979 | See Source »

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