Word: expressionist
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Dates: during 1990-1999
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...been Miller's lot in the U.S., where commercial producers mostly write him off as a shopworn social reformer. In Britain Mt. Morgan is his 13th play to be seen in the West End in the past dozen years. Moreover, British critics and audiences accept him as the poetic expressionist he sees in himself, rather than the earnest realist that U.S. productions relentlessly turn him into. "In London," he says, "audiences and critics are not so bound to familiar forms, and I've been able to demonstrate that the works have contemporary validity. I would hope, if this play succeeds...
Allied to this was the city as tomb, both futuristic and archaic, a kind of Mayan ruin referring only to itself, incomprehensible to its antlike inhabitants. This left its most startling images in the expressionist cinema and in the sublime renderings of the American architect Hugh Ferriss, the Piranesi of the skyscraper age. But it also turns up in projects that were, however nominally, designed for the real world, like the huge pink mastabas of the "Metropolis" that Henri Sauvage hoped to raise beside the Seine...
Thus Ryder the proto-Expressionist was born. He sounds like De Kooning, but actually he looked more like his idol, Corot, only denser and more fixed: tiny imploded scenes, whose glow and atmospheric subtlety were much admired in their time but can hardly even be assessed now. For in pursuit of jewel-like effects and deep layering of color, Ryder painted "lean over fat," so that slower-drying strata of paint underneath pulled the quicker-drying surface apart. He would slosh abominable messes of varnish on the surface, and pile up the pigment by incessant retouching until the images became...
RICHARD POUSETTE-DART: A RETROSPECTIVE, Indianapolis Museum of Art. Overshadowed by such contemporaries as De Kooning and Pollock, the pioneering Abstract Expressionist Pousette-Dart, 74, is here done belated and handsome justice. Through...
Pousette-Dart has always had his following, of course, and in any case it would be idle to put his early work in the '40s and '50s on the same level as De Kooning's or Pollock's. He certainly shared the early Abstract Expressionist interest in primitive art, totems, archetypal forms. And its general legacy from '30s Picasso too: Pousette-Dart's Portrait of Pegeen, 1943 (the subject was the deeply neurotic teenage daughter of Peggy Guggenheim, his dealer), is heavily dependent on Picasso's Girl Before a Mirror. There is also a scary Expressionist insight to the chaotic...