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...revealing record of woman's struggle for coherent self-definition. The diary is traditionally the ultimately personal, direct model of expression. Surely Revelations derives a measure of its power from the personal intensity of the diarists' experience. But it was the insight of editors Mary Jane Moffat and Charlotte Painter to recognize that much of woman's personal experience is often universal and always political, a recognition which gives the collection its over-riding force. "For all the differences in their individual temperaments, social circumstances, and historical periods," write the editors, "the...diarists sound as if they were in conversation...

Author: By Laurel Siebert, | Title: To Love And To Work | 11/15/1974 | See Source »

Caspar David Friedrich as a young painter on the Baltic island of Rugen in 1802. It was Friedrich's favorite posture: Homo romanticus out in the weather, saluting the crag...

Author: /time Magazine | Title: Art: The Awe-Struck Witness | 10/28/1974 | See Source »

Friedrich's work, the Dresden painter Ludwig Richter remarked in 1825, does not deal with "the spirit and importance of nature ... Friedrich chains us to an abstract idea, using the forms of nature in a purely allegorical manner, as signs and hieroglyphs." Like other German Fruhromantiker (early romanticists) of his time, Friedrich had a penchant for introversion and metaphysical generalizations which the more pragmatic English romantics (except men like Blake and Coleridge) did not share. He filled his work with symbolism, most of which is lost to a modern viewer...

Author: /time Magazine | Title: Art: The Awe-Struck Witness | 10/28/1974 | See Source »

...HENRY Miller dubbed Brassai "The Eye of Paris." Nearly forty years later, long after the obscure young painter had become an internationally famous photographer, Lawrence Durrell could still write that Brassai was a "child of Paris, and in some way the city's most faithful biographer...

Author: By Susan Cooke, | Title: The Eye of Paris | 10/26/1974 | See Source »

Brassai was born Gyula Halasz in 1900 in Brasso, a village in Hungarian Transylvania. He arrived in Paris in 1924 after art studies in Budapest and Berlin, determined to make his fortune as a painter. Not until the age of thirty did he hold a camera. His interest in photography grew quickly, however, as he discovered that with a camera he could capture and portray the restless energy and labyrinthine density of Paris. Finally he could fix forever the flickering images he saw in the subterranean night world of cafes and bars that so fascinated him. He became a photographer...

Author: By Susan Cooke, | Title: The Eye of Paris | 10/26/1974 | See Source »

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