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...exhibit also provides a deftly culture-bound experience. Lichtenstein is nothing if not erudite, and to see him parodying established modern masterpieces (Matisse's Red Studio, or the cubist work of Picasso and Juan Gris, or Carlo Carra's Red Horseman) is to see a very informed mind at work, particularly at obscure levels of parody. How, for instance, does one render the odd ambiguities and shifts of cubist or futurist painting in terms of this rigidly determinate dot-and-line style? Of course, it is not paintings but reproductions that Lichtenstein parodies; reproduction itself reduces...

Author: /time Magazine | Title: Art: An All-American Mannerist | 6/22/1981 | See Source »

Good thing: half a mile offshore MacCready spotted a sinister shape that he took to be a large shark. By the last quarter-mile, Allen said, "my legs started to get useless." He had developed painful cramps, but pedaled on. Finally, as Cap Gris-Nez loomed, he said to himself: "Doggone, I'm going to make...

Author: /time Magazine | Title: Science: Odyssey of the Albatross | 6/25/1979 | See Source »

Pugliese, known within SCA circles as the knight Sir Patri Du Chat Gris, said, "Some people join SCA as an escape. For others, it's a way of coming into contact with other people who share an interest in the Middle Ages...

Author: NO WRITER ATTRIBUTED | Title: Group Relives Medieval Times With Anachronistic University | 3/12/1979 | See Source »

...live in Cornwall. The mild light of the peninsula, sometimes as crystalline as the Aegean, and its rolling, antique contours of moorland and coast, recur in hundreds of drawings and dozens of still-life and land scape paintings. Nicholson's favorite motif was that of the cubist Juan Gris: a view of objects on a table, vases, mugs, jugs, bowls, with a fragment of landscape seen through an open window behind, the two worlds - exterior and interior - compressed into a single overlapping image. Nothing is gratuitous, nothing fudged. The sharp pencil line - Blake's "hard and wirey line...

Author: /time Magazine | Title: Art: Landscape on a Tabletop | 1/22/1979 | See Source »

...show, which includes over 100 pieces, catalogs every step of Davis's career. Davis started out painting realism and moved quickly out of that stage under the influence of European post-Impressionists and cubists. Indeed the first two rooms of paintings strongly echo Picasso, Gris and Leger. Davis, as the chronology points out, was heavily involved in artists organizations, especially during the Depression, and campaigned for recognition of the political and social importance of art and artists. After the Depression, Davis developed some of his most important theories and settled into a style using brilliant colors, well-defined shapes...

Author: By Amy B. Mcintosh, | Title: Profundity or Paint Rags? | 5/4/1978 | See Source »

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