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Jules Kirschenbaum, 32, and his Latvian-born wife, Cornelis Ruhtenberg, had both always painted realistically, though she once tried abstraction ("It seemed awfully easy"). Painter Ruhtenberg likes to show "figures against space, to get figures against a flat background without making perspective." In Potiphar's Wife (see overleaf), the running man balances the seated figure: "The problem was to have a contained picture, yet have movement." In Kirschenbaum's Sleeping Figures, the problem was to achieve "the dreamlike qualities of everything becoming different yet clear." The fact that everything in the lush arabesque is not really clear produces...

Author: /time Magazine | Title: Art: The Reappearing Figure | 5/25/1962 | See Source »

...ever-growing music audience. In the U.S., Architects Wallace Harrison and Max Abramovitz are at work on plans for a new home for the Metropolitan Opera Co. in Manhattan's Lincoln Square development. A $2,000,000 opera house has been projected for Colorado Springs by Architect Jan Ruhtenberg which features sculptural shell concrete forms with adjustable walls that can be thrown wide open to empty a full house (3,000) in 1½ minutes. Abroad the boom resounds even louder, with new structures rising and war-damaged buildings getting a thorough refurbishing...

Author: /time Magazine | Title: Art: Halls of Music | 2/25/1957 | See Source »

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