Word: cubism
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Robert Motherwell's Western Air is cubism smashed flat and with a couple of sky-holes poked through it. It demonstrates how abstract expressionism can make violent use of yesterday's art furniture. Arshile Gorky's Garden in Sochi uses Miro-like amoeba shapes to express an infant memory...
...Lyonel Feininger (1871-1956), like most modern pioneers, matured slowly, did not find his own way as an artist until he was past 40. Although he spent more than half of his life in Germany, his painting owes little to German expressionism. Its technique is borrowed from Paris cubism; its architectonic spirit relates to Gothic churches and Bach fugues; its cool severity seems a personal reflection of modern engineering. Says U.C.L.A. Art Gallery Director Frederick Wight: Feininger "unlearned the last century's concept of [space as] a three-dimensional void. Instead, he gradually makes a clearing around the object...
...Warren Jennerjahn, a young artist who succeeded Paul Albers in the Art Department at Black Mountain College. Like Albers, Jennerjahn is an heir of the de stijl movement. His paintings show a Neo-Plastic preference for horizontal and vertical themes. The development of this kind of painting out of cubism is shown in the transition from a fairly realistic housetop view to a small painting of a studio window in which the qualities of design begin to take command. Most of Jennerjahn's other paintings consider the canvas as a plane and the paint applied to it also a flat...
...modernist painter; in Manhattan. New York-born Feininger went to Germany in 1887 to study music, turned to painting instead, exhibited in 1913 with the Blue Rider group (Klee, Kandinsky, Franz Marc), taught painting and graphic arts at Walter Gropius' Bauhaus from 1919 to 1933. Influenced by cubism, he illumined dark, glowing abstractions of sailboats (a famed one: Glorious Victory of the Sloop Maria), churches and city scenes with the placement of crystal-like shafts of light...
Miro traces his imagery back to the Romanesque frescoes of his native Catalonia and the influence of his teacher Urged who left him with an obsession for the red circle, the moon, and the star. To these can be added other sources of inspiration. From Cubism, Art Nouveau, Surrcalism, he borrowed eclectically. But when the literary and formal sources were exhausted he returned to the materials themselves for suggestions. This is one of the late developments noticeable in the loan collection from the Pierre Matisse Gallery at the M.I.T. library...