Word: surrealistic
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Dates: during 1980-1989
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...only housed more grotesques than a whole rack of Gothic thrillers; it also offered a narrator who pretended to be a deaf-mute, baroque retellings of native legends and a riot of inventiveness. Donoso was inevitably mentioned in the same breath with Borges and Marquez as yet another prophetic surrealist bent on reimagining his colorful, tragic continent...
...idea of mating sitcom material with a surrealist style seems, at first glance, to have about as much promise of permanent delight as a pickup in a singles bar. And by the end of The Lonely Guy, even the film's best friends may feel that some aesthetic counseling is in order. Yet for a movie that once again takes up a matter made achingly familiar by contemporary song and story - the hardships and confusions of the single life - it offers some curiously arresting visions: the rooftops of New York City crowded with men howling the names of women...
...exuberant style has made him a popular lecturer in constitutional law. Says one former student: "His mind works so quickly, and comes up with such different ideas, that the course is really impressive and challenging." Off campus, the professor is an accomplished painter and an admirer of surrealist art. He lives with his wife and two children in a late 19th century Cambridge house, decorated with modern Italian art deco-style furniture. Tribe supports the good life with his $70,000 Harvard salary plus substantial earnings from his private law practice. His fees for cases vary...
...death last week of Joan Miró, at 90, was a vivid reminder of the antiquity of modernism. The old surrealist, whose work was once so startling to received taste (a half-century ago, you did not give paintings titles like Two Figures Standing Before a Pile of Excrement without offending someone), received the last rites of the Roman Catholic Church; his death was attended by the priests whom surrealism, a profoundly Catholic movement, once despised. Miró was the last of the great modernist inventors, if you concede that neither Salvador Dali nor Marc Chagall, both still alive...
What Miró did with this fund of imagery after he moved to Paris in 1919 marked his emergence. Miró did not need groups. He became a surrealist because surrealism needed him; it had plenty of poets but no great formal artist (as distinct from vivid dream illustrators like Dali or Magritte). Even allowing for the recent rise in the critical fortunes of André Masson, the painter who introduced Miró to the surrealist group, it still seems clear that, as a draftsman and colorist, as an inventor of epigrammatic shapes set in exquisitely pure pictorial fields...