Word: make
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Dates: during 1950-1950
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...nourishment, his picture boasts a table laden with fish, fruit, ham, chicken, lobster and a skinned hare. The rest of the painting seems to show that it takes all kinds to make a world: there are a broad-beamed model, a shepherd boy with a goat, a Negro with a wheelbarrow, a bishop, a gargoyle, a rat, a frog, a monkey, a barking dog and a girl with a bouquet, whom Lorjou describes as "the pretty woman one sees every day some place...
...solemn business; to Rome's Fabius Gugel it is no such thing. Gugel's working philosophy is expressed in a neat double negative. "Nothing," he says, "pays off more in the end than not being too serious in art. It's all right to make other people think it's serious, but the artist should never take it too seriously himself...
Seasons for a Countess. A push-button affair designed to carry two people up to the countess' boudoir, the elevator did not give Gugel much elbow room. He fitted it with a continuous mural done in deep perspective, to make the contraption look "as light and airy as possible." For subject matter he took the four seasons. "This is a very commonplace idea," he wrote the palace architect, "but I think you'll find the pictures a bit unusual...
That was putting it mildly. For Gugel, spring was best symbolized by an elephant and some trumpets. "Spring is quiet," he says, as if to make everything clear. Summer is, of course, hotter; Gugel captured it in a high-heeled shoe of a curious sort. The heel of the shoe was formed by a half-naked girl, and the toe by a half-draped man on his knees before her. For fall, Gugel painted an "invisible" deer-outlined by flying spears topped off with a pair of antlers. Winter was a little man made of bark and a shoe made...
Unanimous in Geneva. The kind of natural singer whose effortlessness and grace make singing seem easy, she warmed up on the seldom-heard Recitative and Aria of Messagera from Monteverdi's Orfeo. She soared sweetly in Scarlatti's Le Violette, then navigated the vocal rapids of an aria from Handel's Joshua with sureness and poise. In a full, flowing voice, at its darkest the color of a ripe Spanish olive, she sang easily (if a trifle affectedly) through a group of German lieder and on to the songs of her native Spain. In her last encore...