Word: villone
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Sapone says that a few of his painter-customers "dress like bourgeois gentlemen" and concedes that he has trouble satisfying them. Joan Miró never did accept his suggestions for a suit, and Jacques Villon confided: "Sapone, I'm really too old for you to dress me." As Picasso told him: "Your suits are like my paintings. In the beginning people found them strange and extravagant. Now they admire them...
...then one thinks of Wilbur, translating with near-perfection the plays of Moliere in their original rhyme and metre (Tartuffe and The Misanthrope), imitating Villon and odd old Provencal poets in a transcription of literary history, cajoling the past into colloquial forms. If anything, it is remembering forgotten languages, not forgetting the few that we so awkwardly remember...
...Travail du Peintre (1957) is a cycle of seven songs on poems by Paul Eluard, each of which portrays a painter of this century: Picasso, Chagall, Braque, Gris, Klee, Miro, Villon. Despite their date, they, too, hearken back to an earlier period and have a great deal in common with the songs of Faure. Miss Fuerstman, who is studying for a Masters in voice at the Manhattan School, failed to achieve a sense of phrasing in the more declamatory songs; elsewhere, however, she exhibited a rare blend of spirit and control. Both compositions of Poulenc suffered from problems of balance...
...remark about the usual translator's sacrifice of tone to literal meaning. He then cautioned us to read Imitations as a book of original poems, with the communication of the tone, or of a tone, of their European ancestors as the major goal. Anyone who examines in French the Villon or the Baudelaire who then inspired Mr.Lowell will readily discover that he took great liberties. But I think most would agree that a tone emerged, in many cases very powerfully...
...scale-some 1,155 lbs. of bronze bulking 5 ft. tall-and is currently on view in Paris' Galerie Louis Carré. The gallery has wisely fulfilled the sculpture's kinetic dynamism by exhibiting it on a motor-driven turntable. This would no doubt have pleased Duchamp-Villon. "The power of the machine imposes itself on us," he wrote in 1913, "and we can no longer even conceive of humans without it. We are shaken in a strange manner by the rapid friction of beings and things, and we become accustomed to perceive the forces of beings through...