Word: spaniards
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...given paintings from Picasso's private collection, by such artists as Matisse, Renoir and Miro. As a result of Bozo's freedom to make his own selections, the museum admirably represents almost all major phases of a protean career. Yet there are a few gaps. Picasso was a Spaniard, and the Picasso Museum in Barcelona has most of his very early works. Madrid has the Guernica, which found refuge in the Museum of Modern Art during Francisco Franco's 40 years in power; London has the Three Dancers; and MOMA still has Les Demoiselles d'Avignon. Paris' new museum...
After our arrival in New York, during a session at the U.N., Spain's Foreign Minister Fernando Castiella took the floor to respond to an attack by Khrushchev on General Franco. Khrushchev blew up. He began to shout insults at the Spaniard, punctuating them by pounding his fists on the desk and then, having removed his shoe, banging it resoundingly on the desk too. Then he leaped from his chair and brandished his fists at the frail, undersized Castiella, who assumed a comical defensive pose. Security guards rushed up and separated them. We were stunned at Khrushchev's behavior...
...Rich and Green on trial. Swiss authorities refused last month to hand over the pair on the ground that a 1900 extradition treaty with the U.S. does not cover the fugitives' alleged crimes. A further difficulty is that Rich has renounced his American citizenship to become a Spaniard, and Green reportedly is now a Bolivian. The two are unlikely to return to the U.S. of their own accord. Prosecutor Giuliani has said he would accept no plea bargain from the traders unless it would "expose them to substantial prison terms...
...protest against the fascist bombing of a Basque town during the Spanish Civil War, to a cluster of peg dolls he painted for his daughter Paloma. Paintings, drawings, collages, prints of every kind, sculpture in bronze, wood, wire, tin, paper and clay; there was virtually no medium the Spaniard...
After World War I, Picasso would depend wholly on himself and his feelings. The corollary was that Picasso gave feeling itself an extraordinary, self-regarding intensity, so that the most vivid images of braggadocio and rage, castration fear and sexual appetite in modern art still belong to the Spaniard. This frankness-allied with Picasso's power of metamorphosis, which linked every image together in a ravenous, animistic vitality-is without parallel among other artists...