Word: paintings
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Dates: during 1940-1949
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...corner of a composition that was too loose and bare to be properly described as a composition at all. There was nothing sunny about the level light that pointed up a shuttered window above the old man's head, and the sky beyond had in it more paint than air. Yet the somber, dilapidated house front dwarfing the children on the sidewalk, the green smudge of a treetop peering over the adjoining wall, the sick and sagging figure of the old man himself, and even the murky, unreal light and haphazard composition all helped put across the mood Stuempfig...
Along with most of his contemporaries, Stuempfig has tried his hand at abstract art, but only once. "I was told to paint an abstraction," says he, "and I did it, in school, where all abstractions belong. But at the Pennsylvania Academy where I studied I tried to resist the tendency of the average art student to like the obvious -the obvious being Picasso and Matisse...
...widower with two sons, 8 and 12, Stuempfig somehow combines his absorption in art with "generally fulfilling the job of parent. It's either work or stomach ulcers for me because if I don't paint I get sick." For the last 15 years he has been painting an average 56-hour week, alternately learning and ignoring his craft...
...folks to goggle at. including jeweled goblets, an emerald cream jar, embossed parade armor, even a nine-lb. golden salt cellar wrought by Benvenuto Cellini. But the finest treasures of all in the $80,000,000 loan exhibition had been put together with only a few dollars worth of paint and canvas. Among them were seven Tintorettos, twelve Titians, nine Rubenses, six Velasquezes, Dürer's big, bloody Martyrdom of the 10,000 Christians and Vermeer's marble-cool masterpiece, The Artist in His Studio...
...seemed a harmless enough project. New York University Senior Harold Collins had offered to paint a mural in the university's La Guardia Hall with the title One World. Sketched in charcoal, Collins' World put N.Y.U. in a whirl last week...