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These were the conditions under which Matisse began to produce pictures based on what he called the "methods of modern construction." Struggling to mount a personal response to the challenge of Cubism, he approached the very edge of abstraction. Things and people were reduced to concise signs of themselves, but...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

And even as he struggled to gain a wider public, Matisse was losing his position as leader of the Parisian avant-garde to Picasso, 12 years his junior. Young artists were fascinated by the militant astringency of Cubism and its systematic means of exploding form and space. Compared with the...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

When he was through with the hectic charms of Fauvism, Matisse moved to distill and stabilize his art by conjuring up a stripped-bare world of preclassical antiquity, a place that was one part arcadia, one part Land That Time Forgot. In enigmatic pictures like Bathers with a Turtle, from...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

Even in his portraits, like The Italian Woman, Matisse could almost entirely transform the sitter, because he was confident that feeling in a painting was conveyed not by physical appearance or facial expression but by the sum of the impressions created by line and color. Often he began a picture...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

The title of Remnick's opus refers to the Edmund Pettus Bridge in Selma, Ala., the bloody origin point of a tide that swept the first black President into office 44 years later. But it is also an apt name for the story of Barack Obama's arc from youthful...

Author: /time Magazine | Title: The Skimmer | 4/12/2010 | See Source »

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