Word: artists
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Dates: during 1950-1959
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...GREAT part of modern life is lived by artificial light, and yet no major painter has devoted himself to this glittering and multi-hued area until now. This week Manhattan's Babcock Galleries put on show the work of Chicago's Richard Florsheim, the first artist to attempt an all-out embrace of the world of electrical, chemical and neon fires. With painters everywhere attempting to reestablish contact, however ephemeral, with nature, Florsheim points out that man-made lights are also part of nature. The nighttime view from an airplane or a train can take...
...mature experience. Yet we expect this of painters. But it is much harder to be a good painter than president of General Motors.'' Slowly, out of the gloom in Florsheim's studio, more positive and colorful pictures began emerging. "I don't think most artists go through a blinding transformation; it's like a shingled roof with no start and no finish," he explains. "But I've gone farther in the past few years when it comes to communicating what is going on around us. The artist is an interpreter after...
...American mass culture is a kind of parody of high culture," he declared. MacDonald described art in a high culture as an expression of the artist and standards of discipline. "Commercial mass art is anti-art," he said, "because there is no real communication between the artist and the public...
...Fogg shows 32 pencil drawings by the most delicate and, perhaps, most sensitive of the modern Italian artists, Amedeo Modigliani. This, too, is a fine exhibit, and the Museum is to be especially congratulated for the show's handsome appearance. In one corner, the Fogg devotedly displays the death mask of the artist, wreathed by laurel leaves, and, in another, placed potted ivies. This tasteful presentation complements the subdued, distinctiveness of the works exhibited. It is also a tribute to the knowing connoisseurship of Stefa and Leon Brillouin who have over the years built up this valuable collection...
...about 1917, Modigliani's drawing reaches a consistently high standard of draftsmanship. With a few swift and caressing strokes, as in Lola, Modigliani can evoke a lovely girl, sitting at her ease, looking alertly at the viewer. Drawn in the last year of the artist's short, wantonly bohemian life, A Young Man is especially enjoyable for its intricately balanced composition and its artful, linear suggestion of facial volumes...