Word: daly
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Dates: during 1980-1989
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...disappeared entirely, as Barbara Cartlidge's Twentieth-Century Jewelry (Abrams; 238 pages; $60) very handsomely makes clear. In the early part of the century, designers like the Spaniard Luis Masriera were turning out lovely art nouveau brooches--golden angels balancing gleaming pearls--and as late as 1949 Salvador Dali transformed one of his famous surrealistic eyes into a diamond, ruby and enamel watch. The gold and the jewels still shine in the '80s, but too many designers, alas, seem to specialize in the weird and bizarre...
HOSPITALIZED. Salvador Dali, 80, eccentric Spanish surrealist painter who in recent years has lived as a recluse in his castle near Cadaqués, in Catalonia; for surgery to treat severe burns received when his canopied bed caught fire; in Barcelona...
...master architects, Perez Associates, claim that the Wonderwall was inspired by Piranesi's etching of the Circus Maximus in Rome, but the multicolored Styrofoam and Fiberglas-mesh structure looks more as if it had been dreamed up in a Bourbon Street bar by the design team of Dali and Disney. Grecian urns and Roman busts sit among the rooftops; gilded cherubs toot their horns; alligators double as seats; a peacock spreads a vibrant tail. The wall's up and down hurly-burly has performing areas, water sculptures, flowers and 41 fountains...
...spring exhibition at London's Tate Gallery, "The Pre-Raphaelites," has been a roaring popular success. In attendance it has been surpassed at the Tate only by exhibitions of John Constable and Salvador Dali-fittingly, since it rivals the intense Englishness of the former while competing with the fulsome, more-than-photographic detail of the latter. The time is long past when hard-core modernists, secure in their belief that nearly everything England produced between the death of Turner and the arrival of Roger Fry was either hopelessly sentimental or irredeemably quaint, assigned the Pre-Raphaelite Brotherhood...
...with this fund of imagery after he moved to Paris in 1919 marked his emergence. Miró did not need groups. He became a surrealist because surrealism needed him; it had plenty of poets but no great formal artist (as distinct from vivid dream illustrators like Dali or Magritte). Even allowing for the recent rise in the critical fortunes of André Masson, the painter who introduced Miró to the surrealist group, it still seems clear that, as a draftsman and colorist, as an inventor of epigrammatic shapes set in exquisitely pure pictorial fields, Miró had no rival...