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...create his windows for Metz Cathedral, installed earlier this year, Octogenarian Jacques Villon had all the elements available to the glassmasters of 13th century Chartres, and more. The soft radiance of medieval glass, coming from imperfections that fractured the light, was duplicated by hand craftsmanship. The gothic spectrum was expanded by modern chemistry to include an endless range of intermediate tones. But the laborious process of cutting glass to the pattern of the cartoon, painting in details with an enamel of metallic oxides and ground glass, baking it, and finally assembling it with strips of lead is almost unchanged. Villon...

Author: /time Magazine | Title: Art: MODERN GLASS FOR MEDIEVAL CHURCHES | 7/21/1958 | See Source »

...richly controlled as always. Chagall is represented at his most fanciful and most substantial, Braque displays his talent for being perennially so very right, and Rouault, as usual, exhibits as much profundity in a landscape as in a crucifixion. It is good to see less exhibited figures such as Villon and Masson included, though Miro, Leger, Mondrian and the sculptor Lipschitz receive perhaps less than their...

Author: By Paul W. Schwartz, | Title: Modern Masters | 10/16/1957 | See Source »

...Pulitzer, who began collecting as a Harvard undergraduate when he acquired Modigliani's Elvira Resting at a Table, is entitled, after twenty years, to some mistakes. Villon's portrait of the collector and Tamayo's study of Mrs. Pulitzer, tressingly poor examples of the work of gifted commissioned rather than chosen, are both discollector and Tamayo's study of Mrs. Pulitzer, tressingly poor examples of the work of gifted commissioned rather than chosen, are both dispainters. Andre Beaudin's The Steeplechase, almost commercial in its obvious mannerisms, seems enigmatically out of place...

Author: By Paul W. Schwartz, | Title: The Pulitzer Collection | 5/25/1957 | See Source »

...both. Except for an Ingres and Van Gogh drawing, a Cézanne oil and a few other late igth century works, the collection consists entirely of contemporary art, ranging from Afro to Vuillard, and including Picasso, Rouault. Matisse, Klee, Braque, MirÓ, Villon, Bonnard, Tamayo. Elvira and another early buy, Max Beckmann's Zeretelli (opposite), are typical of the individual pictorial styles and expressiveness that caught Pulitzer's eye. One of the best painters to come out of Germany in this century, Beckmann did this perceptive portrait of the ballet dancer-prince in 1927 as part...

Author: /time Magazine | Title: Art: COLLETOR'S CHOICE | 4/15/1957 | See Source »

Calling himself a "cubist impressionist," Villon progressed from his 1913 attempt to render cubist rhythms in Soldiers on the March to his lime-cool portrait of his notary father (opposite), who supported Villon's painting efforts off and on for 30 years. Villon, having refined his palette to the utmost, "touched the earth once again" by returning in 1940 to the vibrant countryside of southwest France. Part of his latest harvest: his superb pastoral illustrations for Virgil's Eclogues (TIME COLOR PAGES, June 6, 1955). Today, at 81, the holder of nearly every award the art world...

Author: /time Magazine | Title: Art: THE BROTHERS | 4/8/1957 | See Source »

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