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Self-portraits by 20th-century figurative expressionist Robert Beauchamp...

Author: NO WRITER ATTRIBUTED | Title: FM'S PICKS | 4/22/1999 | See Source »

...Boston Psychoanalytic Society and Institute presents a show by 20th century figurative expressionist Robert Beauchamp. "Fantasy and Angst" is an exhibit that includes some of his most famous self-portraits. 15 Commonwealth Ave. at the Arlington T-stop. 266-0953. 9 a.m. to 4:30 p.m. FREE...

Author: NO WRITER ATTRIBUTED | Title: MONDAY APR 26 | 4/22/1999 | See Source »

...series of appropriations of other painters' works, including a Courbet, a Van Eyck, a Vermeer and a Van Gogh. In these he often changed the race of the figures or added captions and altered the size of the piece. He produced a few works in the Abstract Expressionist vein, which focused on the significance of color and gesture. He employed a cartoon style to address political issues. Among other politically-motivated works, Colescott discussed a painting of the assassination of Robert F. Kennedy '48 (he considered it his first truly narrative work) and one of George Washington Carver crossing...

Author: By Brooke M. Lampley, CONTRIBUTING WRITER | Title: Analyzing the Abstract with Colescott | 12/4/1998 | See Source »

...Fogg Art Museum houses art of all shapes, sizes and genres, from 14th-century church relics to abstract expressionist canvases. On November 16, the Fogg played host to another, more fleeting art form for a few hours. On that evening, the Cambridge Society for Early Music held the first concert of its 18th season in the courtyard of the Fogg--the first time the space has been used by the society. It proved to be the ideal setting for the "Chamber Music by Candlelight" concert entitled "Harp and Double Harp," featuring acclaimed harpist Andrew Lawrence-King...

Author: By Melissa Gniadek, CONTRIBUTING WRITER | Title: Happiness Is a Warm Harp, In This Case | 12/4/1998 | See Source »

...utility of Hubbuch's composition combine to give the viewer a queer sense of detachment, which prevents wholehearted admiration while simultaneously intensifying the clarity of appreciation. Like most of the other drawings and photographs exhibited at the Busch, The Schaefer Sisters "clicks" for the viewer just as later Abstract Expressionist pieces "click"; unlike abstract images, however, the presence of a clearly portrayed object confounds any attempt on the museum goer's part to detect feelings of abstract communication or inspiration. Pieces such as Max Beckmann's hollow-eyed Self-Portrait and Lyonel Feiniger's playfully interpretable Hairdresser's Dummy with...

Author: By Benjamin E. Lytal, CRIMSON STAFF WRITER | Title: WEIMAR at the BUSCH-REISINGER | 12/4/1998 | See Source »

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