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The ghostly landscapes and empty plazas that Giorgio De Chirico painted in the decade before 1920 rank the Italian artist as the most influential forerunner of surrealism. In the late '20s his paintings were so much in demand that he secretly took to selling them himself, circumventing an exclusive...

Author: /time Magazine | Title: Art: Real, Fake & Real Fake | 3/17/1961 | See Source »

When Christopher Fry's The Lady's Not for Burning was produced in 1948, a great new hone seemed to have dawned for the English-speaking theater. None of Fry's other plays (A Phoenix Too Frequent, Venus Observed, The Dark Is Light Enough) matches Lady in...

Author: /time Magazine | Title: Theater Abroad: Return of the Phoenix | 3/10/1961 | See Source »

He began as a realist ("That was what we inherited"), passed through a stage that was "allied to surrealism," finally went wholly abstract. By 1947 he was already turning out compositions of floating colors. In the years since, Rothko has achieved an almost elemental simplicity, which he likes to explain...

Author: /time Magazine | Title: Art: A Certain Spell | 3/3/1961 | See Source »

Pink & Sapphire. As critic, Soby wrote the first U.S. book on surrealism and neoromanticism, then turned out a study of Italian Painter Giorgio de Chirico that Alfred Barr calls "the best monograph on a living artist." His own nine De Chiricos are probably as good as anything the artist ever...

Author: /time Magazine | Title: Art: The Affectionate Critic | 2/10/1961 | See Source »

For the crowded opening of its new show last week, Manhattan's D'Arcy Galleries had gone to all sorts of pains to set the right mood. Through loudspeakers came the false notes struck by a small child practicing the piano. In one nook were three white hens...

Author: /time Magazine | Title: Art: Surrealistic Sanity | 12/12/1960 | See Source »

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