Word: tamayo
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Dates: during 1960-1969
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THREE recent covers provoked comment from an extraordinary number of readers with insights of their own. All three were strong and inherently controversial works -Rufino Tamayo's stoic study of Actress Jeanne Moreau (TIME, March 5); Ben Shahn's volatile gouache of Martin Luther King (March 19); Sidney Nolan's evanescent whirl of Dancer Rudolf Nureyev (April 16). Some readers found them unusually exciting; others objected vigorously, and a few thought them downright malicious...
...Portraits like this should make us all thankful that our women are still made by God and the Revson brothers, and not by painters like Rufino Tamayo...
...Moreau by Tamayo looks like a rather sour Kore in the Acropolis Museum in Athens. Or perhaps Mr. Tamayo was influenced by the Kouros in the Metropolitan Museum of Art? Either way, let's leave the Greeks alone. Moreau, as your writer says, is all woman, every woman...
...reaction was shared by urbane Semi-Abstractionist Rufino Tamayo who did the cover portrait.* Instead of the flamboyant, movie-star type he had envisaged, the artist found his subject "a most unglamorous girl of marvelous simplicity. From the beginning," he recalled of the sittings in his Cuernavaca weekend home, "she said we should talk in English because her mother was English and she preferred the maternal tongue. It was her own delightful way of telling me what I already knew-that my French is preposterous." He was delighted that Jeanne agreed to informal sittings, without makeup or hairdo, "because...
Despite all this enchantment, Reporter Haber, Writer Farrell and Editor Cranston Jones hope they kept their journalistic judgment. As for the Tamayo portrait, it stirred mixed feelings in the subject. Said Jeanne: "I was struck by one thing when I saw the portrait [in progress], and that was the strength he found in me-not the strength I have, but the strength I would like to have...