Word: surrealist
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Dates: during 1950-1959
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Borrowing from his one-act play, Orpheus (1926) and his surrealist film, Blood of a Poet (1933), Jack-of-All-Arts Cocteau has written and directed a modern version of the legend in which Orpheus charms the gods into returning his dead wife, Eurydice, to life. As Cocteau has it, Orpheus (Jean Marais) is a celebrated poet and national hero who falls in love with a satellite of death in the shape of a beautiful princess (Maria Casares). The princess covets Orpheus, takes Eurydice (Maria Dea) before her time. Confused by his love for both women, the poet journeys...
Algae & Doves. Critic Wilson, trying a humorous parody of surrealist rhetoric, can be as painful as anything in print: ". . . Mr. Dali allows the milliped...
Such tongue-in-cheek stunts have earned Gugel the reputation of being a surrealist (TIME, Nov. 17, 1947). But like Salvador Dali, he now dislikes the tag; it is too tired for publicity purposes. "Surrealism," Gugel says, "started as an art of the subconscious, while I try to be as conscious as possible." Though he dotes on shoes to such an extent that they have become his trademark, Gugel insists that they have no Freudian implications for him. His grandfather, Gugel explains, was in the shoe business: "And I was always fond of grandfather...
Personal Opinion. To some delegates the welcoming speech sounded like an official blast at surrealist and abstract art. Not so, said conference officials: it should be interpreted as a strong recommendation against falling into extremes, but the Pope had mentioned no school of art by name. Moreover, his words had been those of a simple speech rather than an encyclical, and should therefore be considered as the Pope's personal opinion...
Alberto Giacometti's surrealist construction, The Palace at 4:00 a.m., had tickled as many visitors as it puzzled. His new sculpture, City Square, was more serious and therefore harder to take. Giacometti had long since abandoned surrealism to carve tiny classical heads which he carried in his pocket, and progressed from them to stick-figures whose pocked and ragged flesh was stretched elastically upward to the snapping point (TIME, Feb. 2, 1948). City Square disposed five such figures, only a few inches high, on a broad bronze pedestal. All were walking determinedly, and their paths were bound...