Word: abstractedly
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Dates: during 1960-1969
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...year dominance of the glass box building came under attack, not by just a few iconoclastic critics, but by a significant number of U.S. architects at their annual convention in Dallas, where they cheered some viable variants. And another changing trend, long foreseen-the shift away from abstract expressionism in painting-became more visible. Manhattan's Museum of Modern Art, long a tolerant advocate of everything in art but the naturalistic, staged a new painting show to bring back the human figure, though not yet in a way that would have been recognizable to Rubens or Raphael...
Denver-born Robert Beauchamp, 38, studied under Abstract Expressionist Hans Hofmann, but in 1953 returned to the figure. "It was an emotional thing," he says. "I felt abstract art was too remote from immediate life, that I had to wear blinkers when I walked out onto the street." His use of color goes back to the German expressionists ("I reverted to what had preceded Hofmann"), but the fantasy is all Beauchamp. His creatures crouch or dance in junglelike settings, seem often to be engaged in some sort of orgy. Beauchamp is unable to explain why his fantasy takes the direction...
...Like the abstract expressionists, he lets his paintings have a life of their...
Died. Franz Josef Kline, 51, a leader in Manhattan's stronghold of abstract expressionism, a rugged, academically adept Pennsylvanian who, after early attempts at barroom-scene realism ($5 apiece), found his forte in 1950 with the lunging black-and-white calligraphy (as much as $14,000 apiece) that won him permanent wall space in the U.S.'s great museums and some derision ("Chinese laundry tickets"), who explained his aggressive oils as "not the things f see but the feelings they arouse in me"; of a heart attack; in Manhattan...
...spaces," but the beat of the ballets was always jazz. What caught his imagination was everyday America-the gas pumps, factories, cities, the hep talk and hip music-even the signs, "the visual dialect of the city." Since he never lost touch with reality, Davis refuses to be called abstract. His color-spaces are merely "a language to express daily observations...