Word: visualizing
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Dates: during 1960-1969
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Keith Vaughan, 49. Assuming that professional art was for only "the very rich or very foolish," Vaughan went into advertising during the Depression. After the war, borrowing from the cubists, Vaughan extracted and refined his forms "out of the vast ore" of his visual experience. He began painting muted-palette manscapes-landscapes chockablock with men. "I try to divest my figures of any particular identity of purpose or recognizable activity and retain only their essential humanity," he says...
...good for them to be oppressive. His hero is a man; when fate reduces him to flotsam, it is a grievous loss, and when he finds the little boy, his relit face shows love. For the most part, Bondarchuk directs as well as he acts. Some of his visual effects are excellent, and with one in particular-a scene in which the delirium of the exhausted escapee is symbolized by the waving of a grainfield in which he lies-he is as good as Ingmar Bergman...
...validly set in almost any time and place. Ancient Troy is of course possible. But so is the Spain of the 1930's of Korea of the 1950's or Berlin of the 1960's. Of all Shakespeare's plays, it is actually the least dependent on a visual setting; and it loses least over the radio of phonograph...
...making it more so. If pure abstraction once meant freedom for the artist "to paint any way he wishes," it is now to Greene a negative license without real meaning. "The artist's freedom," says he, "must again be defined in relationship to the world, which means visually for the visual artist. Some degree of representation is again demanded...
...buildings that Harvard has planned, surely LeCorbusier's Visual Arts Center holds the most promise of great architectural achievement. The Center will be the first building erected in the United States by one of the finest architects of our time. Now, when Corbusier is at the peak of his powers as a planner and a designer, his contribution to the University architectural setting is eagerly awaited...