Word: salons
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Dates: during 1970-1979
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There are many variations on the new wedge. Stylists at the Paul McGregor shops in New York and Los Angeles have shaped the back of the cut into three inverted pyramids. The Jon Peters salon in Beverly Hills has added to the cry with hue. Says Owner Allen Edwards: "For fun, we like to apply iridescent color to the bottom of the wedge -aura colors like purple, reds and blues...
What's in a name? Not much, the historian of art is bound to answer. Cubism was not about cubes, nor Fauvism about wild beasts. When in 1905 an affable critic looked round the Paris Salon d'Automne, which contained an Italianate bust surrounded by the paintings of Henri Matisse and his disciples, he made a wisecrack about "Donatella chez les fauves" (Donatello among the wild beasts), thus giving a short-lived movement a very durable and misleading label. Fauvism was worked out by a small group of artists over a span of three years; it was dead...
...less disturbed, Pound was allowed to see visitors for two hours a day. They came by the score: Thornton Wilder, Robert Lowell, Katherine Ann Porter, Archibald MacLeish, Marianne Moore, T.S. Eliot. During the last eleven years of Pound's commitment, America's most illustrious literary salon was conducted in a madhouse...
...Paris critic's response to Jean François Millet's Man with a Hoe at the Salon of 1863. And how the Second Empire's fear of the collective poor is distilled in the last six words! Proletarian labor, as a subject for art, was the invention of the 19th century; for that, the country-bred Millet was largely responsible. Other paintings of his met similar critical obloquies: The Gleaners, 1857, "have enormous pretensions-they pose like the three fates of pauperdom." The Sower, 1850, was greeted by one conservative as an insult to the dignity...
...peasants are large. They fill the foreground. They make it uncomfortable to be the traditional audience of salon painting, the middle-class observer. They are also deliberately iconic. Herbert points out that in Millet's Going to Work, 1850, the young peasant couple striding through the fields is based on Masaccio's fresco of Adam and Eve, expelled from Eden and condemned to labor. This resonance is deepened by the potato basket on the wife's head and by the thong she carries like the attribute of a martyr...