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...look of what he saw without apparent effort. Now his technique has become as unobtrusively slick as that of Surrealist René Magritte (see above). And for an age when storytelling in paint is frowned on even by academicians, Andrew's pictures are suitably storyless. His sharply sunlit Afternoon (on exhibition with 17 other of his paintings at the Pennsylvania Academy of the Fine Arts last week) looks as pleasant, and as posed, as a vacation snapshot...

Author: /time Magazine | Title: Art: Disarming Realist | 4/21/1947 | See Source »

...conviction of Soren Qvist on circumstantial evidence is actually a famous case in Danish legal history. In Miss Lewis' telling of it, a remote and pastoral time is presented with sunlit freshness, but her characters lack the essential irony and ambiguity of flesh & blood...

Author: /time Magazine | Title: Books: Two Short Ones | 4/7/1947 | See Source »

...authorities hunted him, Kusunose went to the foot of Fujiyama, to a deserted army barracks, where he had soldiered as a youth. He sat down facing the great mountain, which rose so steeply above him that he had to bend his head back to see the splendor of the sunlit, snowcapped summit. Kusunose sat down on Dec. 9. On Dec. 17 or 18, Death, which had been creeping nearer for nine days, sat down beside...

Author: /time Magazine | Title: Foreign News: Death | 2/3/1947 | See Source »

With Clementine, Director Ford has accomplished more than an intelligent retelling of a hoary yarn. His camera sometimes pauses, with a fresh, childlike curiosity, to examine the shape and texture of a face, a pair of square-dancing feet, a scrap of desert landscape or a sunlit dusty road. The leisurely lens-a trick Europeans frequently overdo and Hollywood seldom attempts-makes some of Ford's black-&-white sequences as richly lifelike as anything ever trapped in Technicolor...

Author: /time Magazine | Title: Cinema: The New Pictures, Nov. 11, 1946 | 11/11/1946 | See Source »

...20th Century, Max Ernst (see col. 3) renounced the pleasures of painting the sunlit world he saw around him. By concentrating on the feathered, taloned, sharp-toothed horrors visible to his inner eye, Ernst became modern art's first surrealist (old masters Bosch, Brueghel, Grünewald, and others had been there be fore him). All Ernst had to do was to close his eyes to see Satan hovering before him in the studio. And Ernst's Satan was easy to recognize: he invariably looked like everything that Ernst feared most...

Author: /time Magazine | Title: Art: Temptations of St. Anthony | 3/25/1946 | See Source »

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