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...while thereafter, Evergood seemed to have been beached on the mudbank of the Depression. His bitterness began to have a period flavor, and fell from favor. But with his like-minded peers Jack Levine and Ben Shahn, Evergood has come back strong in recent years, steadily, if spottily, extending the range of his art. An Evergood show today is apt to run the gamut from gloomy realism through cartoon-style satire to exuberant fantasy, and to include some of the freshest and most skillful canvases of the season...

Author: /time Magazine | Title: Art: BIG SPENDER | 7/25/1955 | See Source »

...Malraux story was written by Associate Editor A. T. Baker. The portrait was painted by Russian born, Brooklyn-reared Ben Shahn. It is the second work by a new cover artist to appear on TIME in the last few months; Aaron Bohrod did the Governor Knight cover for the May 30 issue. Shahn, who started out as a lithographer, first won success with his series of beautiful but bitter watercolors protesting the 1927 execution of the anarchists Sacco and Vanzetti. As a young "social realist," he had a reputation for proletarian-protest painting; but a 25-year retrospective showing...

Author: /time Magazine | Title: Publisher's Letter, Jul. 18, 1955 | 7/18/1955 | See Source »

...museum's walls were covered with moody, swirling blobs of color, as otherworldly as their titles (Strata No. 1, Tones of Silence, Pad '55). Only here and there does an oldtimer hold out. Ben Shahn in Second Super Market makes a tasteful composition out of wire grocery carts; the '303 echo in Philip Evergood's Quick Lunch, a ham-handed working man swigging a soft drink; Morris Graves's Bird is deftly caught on thin rice paper with a Chinese economy of line. But they are small islands of representation in a swirl of abstraction...

Author: /time Magazine | Title: Art: The Postwar Decade | 5/23/1955 | See Source »

...Frenchmen expecting to touch familiar ground with the "real art," the 108 paintings and 22 sculptures by 67 U.S. artists was a bewildering sea of unknown names and works. Small groups, picking favorites, quickly formed in front of Ben Shahn's Squash Court and U.S. Primitive Joseph Pickett's Manchester Valley. Contemporary U.S. abstract art proved almost too much to take. Among the sculptures, only Richard Lippold's shimmering construction of chromium and stainless-steel wires and Alexander Calder's familiar mobiles drew much appreciative comment. French artists took a hard, professional look at Jackson Pollock...

Author: /time Magazine | Title: Art: Americans in Paris | 4/18/1955 | See Source »

...Brooklyn toughs of his boyhood would never appreciate the aging Ben Shahn, coming generations well...

Author: /time Magazine | Title: Art: Mirrors & Messages | 1/31/1955 | See Source »

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