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...artists have carried on the tradition in the 20th century, with its predilection for spare, abstract, modernist forms. But of those who have, the worthiest successor to Parrhasius is muralist Richard Haas, 54. "Walls present some of the most interesting and challenging surfaces in an urban area," says Haas. "I look at them as large canvases for an artist to come and paint...

Author: /time Magazine | Title: Design: Creating Grand Illusions | 12/10/1990 | See Source »

...also represent the painter and muralist Michelangelo. As you know from Variety, he is just finishing the sketches for his big Sistine Chapel production. Mike has never before offered product placements in his works, so this is a rare opportunity for a shrewd advertiser. The ceiling will depict the moment of creation -- Adam and God with arms outstretched to each other and fingers touching. It's dynamite, I promise you. For $20,000, Adam could be wearing a Rolex watch; for $40,000, God could wear one; for $60,000, both. Although Mike is committed to the concept of Adam...

Author: /time Magazine | Title: Essay: These Foolish Things Remind Me of Diet Coke | 6/11/1990 | See Source »

This year, the celebrations at Harvard have included films, speeches and presentations by a U.S. representative, Hispanic leaders, a professor from the Graduate School of Education, an assistant professor, a Mexican-American muralist and a poet...

Author: By Rebecca A. Jeschke, | Title: Six-Day Cinco de Mayo Fest Capped Today | 4/29/1989 | See Source »

...event. The "Sea Monkeys Sideshow" turned the whole Carpenter Center into a piece of performance art for an evening. Actors, storytellers, musicians, directors, dancers, painters and intrigued onlookers participated in the variety of peripatetic performances. In one room, you could watch a pianist, a trumpeter, a dancer and a muralist all creating and improvising at once--and you could even pick up a paintbrush and join in yourself, on the adjacent wall. Even the ideas that didn't work worked--being in the spirit of creation and daring to try something new was all that mattered...

Author: By Gary L. Susman, | Title: The Changing of the Avant-Garde | 6/8/1988 | See Source »

Instead one thinks of an institutionalized, not to say industrialized, sweetness: the Chagall of the blue, boneless angels, the muralist of Lincoln Center and the fresco painter of the Paris Opera, the stained-glass artist who flooded interiors from the U.N. headquarters in New York City to Reims Cathedral in France to the Hadassah-Hebrew University Medical Center in Jerusalem with the soothing light of benign sentiment. His quasi-religious imagery, modular and diffuse at the same time, would serve (with adjustments: drop the flying cow, put in a menorah) to commemorate nearly anything, from the Holocaust to the self...

Author: /time Magazine | Title: Art: Fiddler on the Roof of Modernism: Marc Chagall: 1887-1985 | 4/8/1988 | See Source »

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