Word: abstractionists
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Where Now, Brown Cow. Wyeth knows that his work is sometimes admired by the wrong people for the wrong reasons. "Ooooo!" he mocks, "Mr. Wyeth, such a bee-o-o-ooootiful cow!" Says he: "I'm a pure abstractionist in my thought. I'm no more like a realist, such as Eakins or Copley, than I'm like the man in the moon." Wyeth is neither a slave to the faithful detailing of nature, as were Courbet and Manet, nor a scientific observer of light and atmosphere, as were the impressionists. "I want more than half...
...Born into a poor working-class Moscow family and trained as an artist in St. Petersburg, Filonov was part of the singular explosion of avant-garde art that blossomed in early 20th century Russia from the likes of Abstractionist Wassily Kandinsky, Supremacist Kasimir Malevich, Surrealist Marc Chagall and Constructivist Vladimir Tatlin. But Filonov never stayed with any school except his own, which he called "analytical art." It was in the eulogy to Filonov offered by the poet Alexei Kruchenykh, Futurism's major theoretician, that the exhibition's curators found their title, Witness of the Unseen...
...great American figures of the 19th century: John James Audubon, Frederick Church, Thomas Eakins, Winslow Homer. You were likely to be running behind the tick of the big clocks in Paris and Berlin whether you were Childe Hassam doing Impressionist streetscapes 30 years after Monet or a New York abstractionist producing ideal geometries in the early 1940s. "We all steal," said Arshile Gorky to Ilya Bolotowsky. "You steal from Cahiers d'Art [a French art magazine of the '30s]; I steal from Cahiers d'Art. The only difference is I steal better than you, because I know French...
Calder's jump into originality as a sculptor is one of those flash-bang conversion tales in which the legends of early modern art abound. It seems that in 1930 he went to visit Mondrian, the great Dutch abstractionist, in his Paris studio. He already admired Mondrian's work, but he had never seen its environment before--that fanatically judged, ordered workplace of white and primary colors where even the Victrola was painted red. Rectangles of painted cardboard were pinned around the walls, and Calder was seized with the desire to see them move. They should oscillate at different speeds...
...response from European artists. The first was to rebuild, to assert continuity with the past. The second was to embrace the ruins in an imagery of loss, primitivism and seeming inarticulateness, as with Jean Dubuffet's graffiti and turnip men, or the inchoate-looking lumps and scratches of French abstractionist Jean Fautrier. The older artists tended to take the first road, the younger the second...