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Word: visional (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...coat and pale blue feather hat, stepped forward to unveil her famous husband's latest image. Blinking in the bright lights, she pulled the cord and then started visibly as the drapings fell, to reveal her husband in his famous "bulldog" stance, with foot, chin, belly and vision forward. Permanently threatening another step, Churchill's bronze expresses, in the sculptor's words, "an idea of impatience and hurry, of a man wanting to see something done...

Author: /time Magazine | Title: People: Dec. 12, 1969 | 12/12/1969 | See Source »

AUDUBON: A VISION by Robert Penn Warren. 32 pages. Random House...

Author: /time Magazine | Title: Books: Adam in the Wilderness | 12/12/1969 | See Source »

...culture. The monumental size of the paintings gives them inescapable presence. Once in the room, the viewer cannot change the channel-he must look. The power of an undiluted red surface with stripes of white on each end by Barnett Newman stretches beyond the viewer's field of vision if he stands close. To see the whole he must stand back. By their sheer size the paintings scream for recognition, protesting the decreasing space in an overpopulated world. At first the enormity of the entire 34-room exhibition dwarfs the viewer. Yet the dynamism of art makes him empathize with...

Author: By Cyntiha Saltzman, | Title: At the Met New York Painting and Sculpture 1940-1970 at the New York Metropolitan Museum of Art until February 1. | 12/11/1969 | See Source »

...little boxes by Joseph Cornell. He places Victorian mantelpiece objects., medicine bottles, and birds behind glass or a wire, closing them into a three dimensional space, like a tomb. These boxes seem to be the only attempt to frame three dimensional space in the context of the flat vision of the new American painting, but even this sort of ? D picture is lifeless compared to the original space of the abstract works...

Author: By Cyntiha Saltzman, | Title: At the Met New York Painting and Sculpture 1940-1970 at the New York Metropolitan Museum of Art until February 1. | 12/11/1969 | See Source »

...SAME childlike vision which guides his appreciation of art and the execution of his own art. The watercolors he does, beautifully presented in the film, are reminiscent of Paul Klec. whom he admires. Anais Nin, a close friend of Miller's who came to the film's showing at Emerson, compared Miller with Fellini in their love for clowns. Both have a great passion for the circus. Fellini once said that if he hadn't become a filmmaker, he would have been a circusmaster...

Author: By Theodore Sedgwick, | Title: The Filmgoer The Henry Miller Odyssey | 12/8/1969 | See Source »

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