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Word: donatello (lookup in dictionary) (lookup stats)
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...from the doors of St. Peter's, and other examples of his well-known religious works, there are lusty compositions of embracing lovers in the spirit of Boccaccio, sensuous studies of Inge in the nude, and a 1967 bust of her that has the graceful serenity of a Donatello Madonna...

Author: /time Magazine | Title: Museums: Monument for a Humanist | 8/15/1969 | See Source »

...best." Needless to say, the moon was not always delivered. The Louvre was not about to lend the Victory of Samothrace, but the Philadelphia Museum of Art came through with Rodin's 21-ton The Burghers of Calais. Italy was stingy with its Renaissance masters, saved its Donatello for its own pavilion...

Author: /time Magazine | Title: Exhibitions: Too Good to Be True | 5/5/1967 | See Source »

...will sponsor two lectures in Lecture Hall, Carpenter Center. Today at 8 p.m. Wayne V. Andersen, Chairman of the M.I.T. Committee on the Visual Arts, will speak on "Time and Space in Italian Futurism." Wednesday at 8 p.m. Horst W. Janson, Visiting Professor of Fine Arts, will lecture on 'Donatello and the Antique." Tickets are $2, obtainable at the Coop and M.I.T. Student Center...

Author: NO WRITER ATTRIBUTED | Title: CRIA | 4/25/1967 | See Source »

...past, Marini revived Italian sculpture in a period when it languished after the Rodinesque impressionism of Medardo Rosso and the kineticism of the futurists. Marini loathed the machine at first. He took his subject from the horse and rider, an image common in the Italian cityscape, with Donatello's Gattamelata, Verrocchio's Colleoni and the ancient Roman statue of Marcus Aurelius placed on the Capitoline Hill by Michelangelo. Traditionally, the man on horseback is a symbol of authority, of exultant control, of human power over nature. Marini turned the image from initial triumph to ultimate tragedy...

Author: /time Magazine | Title: Exhibitions: The Centauricm | 5/27/1966 | See Source »

MARINO MARINI - Auslander, 1078 Madison Ave. at 81st. Man-on-horse formed Marini: as a youth he admired Donatello's equestrian Gattamelata, as a man he observed Dictator Benito Mussolini. Combining themes, he carved out a lesser heroism: his sculptures show stumbling horses and fearful men. In this show are some of the sculptures, but twelve lithographs, paired with his wife's poetry, and ten oils on paper show a purer image of horse and rider charging, falling, rising again with more courage than their predecessors. Through April...

Author: /time Magazine | Title: Art: Art in New York: Apr. 10, 1964 | 4/10/1964 | See Source »

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