gri_2003_m_46_b06_f12_010

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72218900 - Zooniverse2017
WINNER - 72288734 - glt
72547936 - Greenstar37
72583054 - Preacher357
72678492 - gorgan
72977306 - myardley

72218900 - Zooniverse2017

PAINTINGS
There are even more fine distinctions in realism in paint-
ing than in abstract art. It is necessary to distinguish
between conservative realism and revolutionary realism, be-
tween late impressionism and near-expressionism, between sen-
sational and analytical artists. It is enough, however, in
this place, to record that realism continued in 1953 as before,
without remarkable gains or loses. One of the most impressive
of the realists in the least assertive, least doctrinaire of
them: L. S. Lowry, whose Hank Manchester scenes reveal a rare
feeling for the movement of crowds in an industrial city. Apart
from occasional pure landscape and portraits, Lowry creates
fine images of collective man - an essentially 20th centry con-
cern for an artist.
Picasso continued to draw his material from family life, but
in a new manner. He cut down the rich, garrulous ornament
of his cloisonne style but the impression of slightness and
speed of execution (marked in his work since the Antibes period)
persisted. His new family pictures were spare and flat, related
to the War and Peace pictures of 1952, though more concentrated
and coherent. The general feeling seemed to be that Picasso
is not in one of his great phases: his art showed a restless in-
dustry an ingenuity rather than a firm purpose of universal sig-
nificances. Braque's new work, on the other hand, is a patient
and grave development of his life-long concern with the inter-
relationship of pictorial space and the painted surface, of
exact ambiguities, as fine and as French as a paradox of

WINNER - 72288734 - glt

PAINTING3

There are even more fine distinctions in realism in painting than in abstract art. It is necessary to distinguish between conservative realism and revolutionary realism, between late impressionism and near-expressionism, between sensational and analytical artists. It is enough, however, in this place, to record that realism continued in 1953 as before, without remarkable gains or losses. One of the most impressive of the realists is the least assertive, least doctrinaire of them: L. S. Lowry, whose Manchester scenes reveal a rare feeling for the movement of crowds in an industrial city. Apart from occasional pure landscapes and portraits, Lowry creates fine images of collective man - an essentially 20th century concern for an artist.
Picasso continued to draw his material from family life, but in a new manner. He cut down the rich, garrulous ornament of his cloisonne style but the impression of slightness and speed of execution (marked in his work since the Antibes period) persisted. His new family pictures were spare and flat, related to the War and Peace pictures of 1952, though more concentrated and coherent. The general feeling seemed to be that Picasso is not in one of his great phases: his art showed a restless industry and ingenuity rather than a firm purpose of universal significance. Braque's new work, on the other hand, is a patient and grave development of his life-long concern with the inter-relationship of pictorial space and the painted surface, of exact ambiguities, as fine and as French as a paradox of

72547936 - Greenstar37

PAINTINGS
There are even more fine distinctions in realism in paintings than in abstract art. It is necessary to distinguish between conservative realism and revolutionary realism, between late impressionism and near-impressionism, between sensational and analytical artists. It is enough, however, in this p-lace, to record that realism continued in 1953 as before, without remarkable gains or loses. One of the most impressive of the realists is the least assertive, least doctrinaire of them: L. S. Lowry, whose Manchester scenes reveal a rare feeling for the movement of crowds in an industrial city. Apart from occasional pure landscapes and portraits, Lowry creates fine images of collective man - an essential 20th century concern for the artist.
Picasso continued to draw his material from family life, but in a new manner. He cut down the rich garrulous ornament of his cloissone style but the impression of slightness and speed of execution (marked in his work since the Antibes period) persisted. His new family pictures were spare and flat, related to the War and Peace pictures of 1952, though more concentrated and coherent. The general feeling seemed to be that Picasso is not in one of his great phases: his art showed a restless industry and ingenuity rather than a firm purpose of universal significance. Braque's new work, on the other hand, is a patient and grave development of his life-long concern with the inter-relationship of pictorial space and the painted surface, of exact ambiguities, as fine and as French as a paradox of

72583054 - Preacher357

PAINTING 3
There are even more fine distinctions in realism in paint-
ing than in abstract art. It is necessary to distinguish
between conservative realism and revolutionary realism, be-
tween late impressionism and near-expressionism, between sen-
sational and analytical artists. It is enough, however, in
this place, to record that realism continued in 1953 as before,
without remarkable gains or losses. One of the most impressive
of the realists is the least assertive, least doctrinaire of
them: L. S. Lowry, whose Hank Manchester scenes reveal a rare
feeling for the movement of crowds in an industrial city. Apart
from occasional pure landscapes and portraits, Lowry creates
fine images of collective man - an essentially 20th century con-
cern for an artist.
Picasso continued to draw his material from family life, but
in a new manner. He cut down the rich, garrulous ornament
of his cloisonne style but the impression of slightness and
speed of execution (marked in his work since the Antibes period)
persisted. His new family pictures were spare and flat, related
to the War and Peace pictures of 1952, though more concentrated
and coherent. The general feeling seemed to be that Picasso
is not in one of his great phases: his art showed a restless in-
dustry and ingenuity rather than a firm purpose of universal sig-
nificance. Braque's new work, on the other hanb, is a patient
and grave development of his life-long concern with the inter-
relationship of pictorial space and the painted surface, of
exact ambiguities, as fine and as French as a paradox of

72678492 - gorgan

PAINTINGS
There are even more fine distinctions in realism in paint-
ing than in abstract art. It is necessary to distinguish
between conservative realism and revolutionary realism, be-
tween late impressionism and near-expressionism, between sen-
sational and analytical artists. It is enough, however, in
this place, to record that realism continued in 1953 as before,
without remarkable gains or losses. One of the most impressive
of the realists is the least assertive, least doctrinaire of
them: L. S. Lowry, whose Manchester scenes reveal a rare
feeling for the moment of crowds in an industrial city. Apart
from occasional pure landscapes and portraits, Lowry creates
fine images of collective man - an essentially 20th century con-
concern for an artist.
Picasso continued to draw his material from family life, but
in a new manner. He cut down the rich, garrulous ornament
of his cloisonne style but the impression of slightness and
speed of execution (marked in his work since the Antibes period)
persisted. His new family pictures were spare and flat, related
to the War and Peace pictures of 1952, through more concentrated
and coherent. The general feeling seemed to be that Picasso
is not in one of his great phases: his art showed a restless in-
dustry and ingenuity rather than a firm purpose of universal sig-
nificance. Braque's new work, on the other hand, is a patient
and grave development of his life-long concern with the inter-
relationship of pictorial space and the painted surface, of
exact ambiguities, as fine and as French as a paradox of

72977306 - myardley

There are even more fine distinctions in realism in paint-ing than in abstract art. It is necessary to distinguish between conservative realism and revolutionary realism, between sen-sational and analytical artists. It is enough, however, in this place, to record that realism continued in 1953 as before, without remarkable gains or loses. One of the most impressive of the realists is the least assertive, least doctrinaire of them: L.S. Lowry, whose Manchester scenes reveal a rare feeling for the movement of crowds in an industrial city. Apart from occasional pure landscapes and portraits, Lowry creates fine images of collective man - an essentially 20th century con-cern for an artist.
Picasso continued to draw his material from family life, but in a new manner. He cut down the rich, garrulous ornament of his cloisonne style but the impression of slightness and speed of execution (marked in his work since the Antibes period) persisted. His family pictures were space and flat, related to the War and Peace pictures of 1952, though more concentrated and coherent. The general feeling seemed to be that Picasso is not in one of his great phases: his art showed a restless industry and ingenuity rather than a firm purpose of universal significance. Braque's new work, on the other hand, is a patient and grave development of his life-long concern with the inter-relationship of pictorial space and the painted surface, of exact ambiguities, as fine and as French as a paradox of

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