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Disneyland Chevrons. Noland rarely paints smaller than 4 ft. by 4 ft. Yet he does not want machinelike perfection. "I'm a one-shot painter," he says, and in his Bridge he deliberately left the splatter of orange on yellow. Noland dares to parallel magenta, russet, beige and maroon in a lollipop war of taste. Sometimes he rams and jams his bright color bands into asymmetrical chevrons like a Disneyland sergeant gone askew...

Author: /time Magazine | Title: Painting: Peacock Duo | 1/8/1965 | See Source »

hard edge is the phrase for painters who prefer a defined line to splatter and splash. But it's still abstract...

Author: /time Magazine | Title: A Letter From The Publisher: may 24, 1963 | 5/24/1963 | See Source »

Although it makes them writhe, they are called "hard edge" painters. Among artists of the New York school, the term separates them from the earlier, fast-draw action abstractionists, who painted with splatter, splash or broad-brush lunge. These second-generation abstractionists strive for a well-wrought finish, rather than a random record of trial and error...

Author: /time Magazine | Title: Art: Second-Generation Abstraction | 5/24/1963 | See Source »

...Nervous. In five versions of Seated Woman, the woman hardly made an appearance at all. In many canvases the once meticulous Miró had left hairs from his brushes imbedded in the paint. What did all this splatter and splutter mean? Plainly, the new Miró was mad at the world, and he was letting his emotions boil over. "I used crayon," says he of some thin colored lines in one painting, "because it was more nervous, Pam! Pam! Pam! Pam! Like a knife!" Commented the weekly France-Observateur sadly: "Disappointed spirits will conclude that this...

Author: /time Magazine | Title: Art: Pam! Pam! Zang! Zang! | 6/2/1961 | See Source »

Unhappily, the second stage of this cinema vehicle fails to fire. Instead, it explodes in a splatter of platitudes about the moral dereliction of the scientific community-personified in Von Braun. The moviemakers, nervous perhaps about possible public reaction to Von Braun's Nazi record and the responsibility he shares for the V-2 attacks on London, have leaned over backward to stress his war guilt, with the unhappy result that the hero comes off as a jolly accomplice in mass murder, an affable fanatic who cares everything about rockets and nothing about the people they happen to kill...

Author: /time Magazine | Title: Cinema: The New Pictures, Oct. 17, 1960 | 10/17/1960 | See Source »

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