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...flat (or at least shallow) pictorial space. Lone figures like The Fifer and Matador Saluting were posed against a background too flat to be a room, too brown to be outdoors; it was no more than a neutral backdrop, an exaggerated version of the depthless space behind Velásquez's portraits and some of Goya's. This concern for silhouette and two-dimensional compression could be seen as the progressive missing link between illusion and the flatness of classical modernism. Thus it tended to monopolize discussions of Manet and, on the side, to exaggerate the importance...

Author: /time Magazine | Title: Art: The Most Parisian of Them All | 9/19/1983 | See Source »

...time being, De la Madrid enjoys the support of the power blocs within the P.R.I., including labor, peasants and the bureaucracy. One important figure to watch is Fidel Velásquez, 82, head of the 3.5 million-member Confederation of Mexican Workers, the country's most powerful union organization. After the February devaluation of the peso, Velásquez won wage increases of 10% to 30% for Mexican workers. As a result, the devaluation did not significantly help the competitiveness of Mexican exports, and inflation moved toward the three-digit range. On the eve of De la Madrid...

Author: /time Magazine | Title: Mexico We Are in an Emergency | 12/20/1982 | See Source »

...explosive creativity of its subject. The volume's 1,587 illustrations (361 in color) provide the fullest look anyone but a diligent art historian will ever have of Picasso's formative period. He was never an apprentice. In his early teens he could do copies of Velásquez and large-scale compositions. The draftsmanship in such works was astonishing, but the sketchbooks reached out for bigger challenges. It is possible in these pages to watch him take each step of a discovery. The emaciated figures of the Blue period take shape slowly, as do the acrobats...

Author: /time Magazine | Title: Books: Treasures of Art and Nature | 12/14/1981 | See Source »

...cocktail party theorizing, spoken entirely in psychobabble (subtitles not provided), matches two of the film industry's most hyperthyroid artists, director Ken Russell and screenwriter Paddy Chayefsky; their collaboration produces a hysterically pretentious and ludicrously contrived hoax which is apparently cleaning up in its opening run in New York. Vel, vat haf ve heere? (In fairness, the Viennese psychiatrist is probably the only cliche this film avoids...

Author: By Jeffrey R. Toobin, | Title: Cinematic Regression | 1/14/1981 | See Source »

...aggressive young lounge lizard whose tiny, enameled visions helped create one of the extreme moments of dandyist revolt and modernist disgust. But today the only interesting thing about Dali is the obsessive grip of his pose. He has convinced a public that could hardly tell a Vermeer from a Velásquez that he is the spiritual heir to both painters. And he has done so, not through art but by the diffusion of small anecdotes. Everything is calculated, literally down to the last hair: even his mustache is lifted from Velásquez's portraits of Philip...

Author: /time Magazine | Title: Art: The Soft Watch and the Beady Eye | 3/3/1980 | See Source »

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