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...once wrote, "was distinguished by the arrival in Paris of Foujita and the tango." For a while they were almost equal sensations. An ambitious art student who had thrice been refused admission to the Tokyo Salon, Foujita rightly reasoned that his black bangs, Harold Lloyd glasses and whisker-fine brush drawings would please Parisians more than they did his fellow Japanese. He came to know Montmartre better than he had Fujiyama, strolled its steep streets in a leopard-skin hat, followed by a brace of tabbies on a leash...

Author: /time Magazine | Title: Art: Elegance | 11/21/1949 | See Source »

...made his name as a poster designer. "But during the war," says Cooper, "my interest in posters faded. I found my hands were functioning without any volition. The first results were doodles, then automatic writing. I thought 'If my pen is doing this, why not the brushes?' One day my hand shot out. Much to my astonishment it picked up a brush and drew on a board...

Author: /time Magazine | Title: Art: Anything Can Happen | 11/14/1949 | See Source »

...Dennis, Richard Mellon. A fine craftsman and a thoroughly professional journalist, he has a special talent for sizing up his man in his lead paragraph. His cover story on former Speaker of the House Joe Martin (TIME, Nov. 18, 1946) began: "About all that little Joe ever did was brush the flies off the horses' big rumps while his old man did the shoeing. Little Joe never actually worked at his father's trade. But he grew up to have his old man's squat build. And in the politician's trade, which Joe Martin took...

Author: /time Magazine | Title: A Letter From The Publisher, Nov. 7, 1949 | 11/7/1949 | See Source »

...stage-struck hayseed from Ohio, Betty is in love with a struggling young director (Victor Mature). She is also in love with the tinsel night life of the big city, a yen which presently involves her in murder and a violent brush with the underworld...

Author: /time Magazine | Title: The New Pictures, Nov. 7, 1949 | 11/7/1949 | See Source »

Because he is not well enough to climb ladders, Matisse uses a 4-ft. brush for his murals, which are to represent the Virgin and Child, St. Dominic and the Stations of the Cross. Like the windows, the murals please him enormously. "All my life," he exults, "I've studied the works of other artists-Raphael, Griinewald, Memling-but do you know what enabled me to free myself from their influence, to satisfy myself with my work? Operational shock! "In 1941 I had a serious operation and almost died. But I survived, and I thought, 'Look, Matisse...

Author: /time Magazine | Title: Art: What I Want to Say | 10/24/1949 | See Source »

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