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...Jesus Christ of Latter-Day Saints; the Rev. W. Scott Morton, Director of New York's Presbyterian University Christian Foundation; Catholic Bishops Leo A. Pursley of Fort Wayne, Aloysius J. Willinger of Monterey-Fresno, Calif., and John King Mussio of Steubenville, Ohio, and New York Rabbis Chaim Lipschitz, Julius G. Neumann and Jehuda Melber. Henry L. Lambert, President of the New York Board of Trade, added his name...

Author: /time Magazine | Title: The Supreme Court: More than a Quiet Concern | 9/11/1964 | See Source »

Modern sculptor Jacques Lipschitz and Julius Stratton, President of the Massachusetts Institute of Technology, will also receive degrees...

Author: NO WRITER ATTRIBUTED | Title: Brandeis Dedication Will Include Awards To Two Professors | 10/29/1959 | See Source »

...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 »

Turning the Mirror. The young pioneers reproduced on the following pages took their lead from such European moderns as Kandinsky, Picasso and Paul Klee, and from a slightly less exalted group-Fernand Léger, Jacques Lipschitz, Piet Mondrian, André Masson-who sat out World War II in New York. All brought essentially the same promise: instead of holding a mirror up to nature, art could mirror the inner world of the artist himself. The methods for doing this-abstraction and distortion-were as old as doddering modern art itself (i.e., almost a century), and had already been explored...

Author: /time Magazine | Title: Art: The Wild Ones | 2/20/1956 | See Source »

...rough and unfinished impression is conveyed by the metal sculpture. Much of the texture is like Gonzales' steel abstractions but such pieces as No. 5, "Torrero," have an even more extreme molten rock effect from the welding now seen in the work of Jacques Lipschitz. The strength of rough textures is contrasted by clean, stylized strips in the hands of the "Dancer...

Author: NO WRITER ATTRIBUTED | Title: Miguel Gusils | 4/26/1955 | See Source »

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