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...critic, Grace Hartigan's painting seems to "venture frankly and deliberately into utter chaos." Nowadays, she gets her inspiration from turning away from the world and looking within. As a result, she says, her paintings are more "objective." "As soon as I left subject, I was able to go more deeply into content. Now I am trying to find my own internal world rather than the world that is across the street or down the stairs...

Author: /time Magazine | Title: ART: The Vocal Girls | 5/2/1960 | See Source »

...suffering from a "thorn in the flesh, the messenger of Satan," and this significantly follows a passage in which he tells of a man (usually taken to be himself) who "was caught up into paradise, and heard unspeakable words, which it is not lawful for a man to utter." This neat theory has one important drawback, however: if the illness was the source of Paul's vision, epilepsy could hardly have also been a "thorn in the flesh...

Author: /time Magazine | Title: Religion: More Than Conquerors | 4/18/1960 | See Source »

...dispatch he wrote: "Here in China, if the weaklings (or rightists or anyone who isn't for the ruling circles) make too much noise, they are silenced smartly." Then he added: "Any Western commentators who suggest that the masters of Peking do away with their critics are talking utter nonsense...

Author: /time Magazine | Title: The Press: How to Get Along | 4/18/1960 | See Source »

...dialogue will let him in for some real surprises, and he will have to change his tune." Similarly, it may be disconcerting to some Roman Catholics to find "Protestants who live under the corporate discipline of the Word of God, who believe expressly that they must live in utter subjection to that Word and who believe in the real presence of Jesus Christ in the sacrament-to say nothing of affirming their own interpretation of the Catholic belief that 'outside the church there is no salvation...

Author: /time Magazine | Title: Religion: Rules for a Dialogue | 2/29/1960 | See Source »

...exactly. The surrealists startled the world in the 1930s with part sexual and part malicious images jigsawed into dreamlike arrangements. The new Dali is out not to shock but to seduce; he subordinates all symbols to pictorial splendor. And, like James Joyce in literature, he delights in demonstrating his utter mastery of varying techniques and styles. "Eet ees interesting que I have used on le left a very realistic technique," he murmurs, waving his enameled cane, "and on le right le technique of les pointillists." Hidden among the dots and stripes on the right side is a head-down Crucifixion...

Author: /time Magazine | Title: Art: History As It Never Was | 2/15/1960 | See Source »

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