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Canaletto's Venice was the 18th century's most worldly and sensual city. In the last, decadent century of its independence, the old republic was all pageantry and intrigue. From Piazza San Marco to the Rialto, it was a gaudy blur of masquers and courtesans, actors, singers and sightseers. As the sunny antithesis of London, and most colorful way-point of the Grand Tour, Casanova's Venice even then drew 30,000 Englishmen a year. So many top-chop Londoners returned with Canaletto's etchings and oil paintings that an Englishwoman visiting the city...

Author: /time Magazine | Title: Painting: From Venice with Love | 10/16/1964 | See Source »

Returning to Germany, Corinth scandalized Munich with his sensual image ry. He painted slaughterhouse scenes, leering nymphs and popeyed Grafs with equal candor and caricature. He happily moved to Berlin to join the impressionist Secessionists, an art society that scorned the academy. Then in 1911, a near-fatal stroke reminded him of the dark side of delight...

Author: /time Magazine | Title: Painting: Valhalla Revamped | 9/25/1964 | See Source »

Although Fragonard is best known for his sensual vignettes of dalliance, he rarely reached such peaks of rococo rendering as in his Fantasy Portraits. Dating from the late 1760s, they are a series of 14 portraits of actual people in disguise-often in the ruffs and cuffs of the preceding century. His The Warrior is sterner than the rest, but still as theatrical as grease paint...

Author: /time Magazine | Title: Styles: The Curve of the Sea Shell | 9/11/1964 | See Source »

Died. Diana Wynyard, 58, stately British cinemactress of the 1930s, best remembered by U.S. audiences as the courageous wife in the 1933 Academy Award-winning movie version of Noel Coward's Cavalcade, by Britons for her roles at the Old Vic, where last fall she played a brilliantly sensual Gertrude to Peter O'Toole's Hamlet; of a kidney ailment; in London...

Author: /time Magazine | Title: Milestones: May 22, 1964 | 5/22/1964 | See Source »

Segal, 38, tried but could not take on the inward passions of abstract expressionism. "I was too sensual to turn inside," he says. "I was driving myself crazy as an art student. One teacher agreed and even called me schizophrenic." Now Segal takes a short cut to sculptures; he makes splint personalities by making thin-walled plaster molds of his friends, blurring and refining the wet plaster to his purposes. With his unconventional technique, Segal found a new reality emerging while the plaster set. "To hold a pose for 40 minutes," says...

Author: /time Magazine | Title: Art: They Paint; You Recognize | 4/3/1964 | See Source »

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