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...French shoemakers renowned in the late 19th century for his public stat ues - New York's equestrian Sherman, Chicago's Lincoln, Boston's Shaw and Washington's Adams Memorial. Diana was his favorite, though, and from the moment Architect Stanford White asked him to sculpt her as a fitting finial for the Garden (then under construction), she was a labor of love, his first nude, his first ideal figure. Saint-Gau dens chose an Irish girl named Nellie Fitzpatrick as his model, made a 6-foot-tall cement study, then scaled...

Author: /time Magazine | Title: Monuments: New York's No More | 9/1/1967 | See Source »

...reigning neo-Dada hero. He is celebrated for his Chaplinesque smile, battered Homburg, octopuslike drawings, sculptures made of chocolate and lard, for the splendiferous happenings that he used to stage and, above all, for the fertile chaos of his classrooms. Students in a Beuys class are permitted to build, sculpt or paint literally anything, from kinetic doodads to studies of Beuys himself...

Author: /time Magazine | Title: Artists: Paris on the Rhine | 6/2/1967 | See Source »

Ciay & Cardboard. Sometimes the search for the dramatic effect skates disturbingly close to pulpit gimmickry. In Birmingham, Mich., for example, the Rev. Robert Marshall of the community's Unitarian church once passed out lumps of clay and cardboard to his congregation, told them to sculpt themselves. His point: to make them meditate on the theme "What...

Author: /time Magazine | Title: Churches: Secular Sermons | 3/10/1967 | See Source »

There was never any question as to who should sculpt Mr. and Mrs. Robert Scull, Manhattan's leading pop art patrons. George Segal, of course-the man who has made his reputation by casting his models full size in plaster, then setting them in "environments" that range from a washbasin (for a nude washing her foot) to the whole front door of a brownstone. The only thing holding back Ethel Scull was her dislike of being slathered all over with wet plaster...

Author: /time Magazine | Title: Sculpture: The Casting of Ethel Scull | 4/1/1966 | See Source »

Part of his reserve results from the language problem. He speaks fluent but heavily accented English (Harvard comes out Ar-VAR), and when his mind races ahead of his vocabulary, he has to throw in a French word and sculpt the idea with his hands. In private conversation, Lacouture listens with intense concentration, ignoring the steak before him; then leaning forward to hear, he pulls his Dick Tracy nose, and nods emphatically as he understands the point. A smile breaks easily and often across his narrow face, accentuating the deep wrinkles of a Chet Huntley. Girls find him lovable...

Author: By Geoffrey L. Thomas, | Title: Jean Lacouture | 3/2/1966 | See Source »

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