Word: abstractedly
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Dates: during 1960-1969
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...always been in danger of being dismissed as merely playful. Happily married, reluctant to engage in polemics, disliking grand gestures, he has never been one to charm and bedevil the public as have his fellow Spaniards Dali and Picasso. As one of the earliest and most abstract of all the surrealists, Miró was already a near-legendary figure among his fellow painters by the 1930s. But even in the 1960s, there are still critics who argue that his art is too shallow, too cheerful, too clever and, above all, too personal and too eclectic to rank as truly great...
...seen as the spiritual forefather of postcubist movements, ranging from the gesture paintings of the abstract expressionists to the gaily erotic whimsies of such pop artists as Warhol, Lichtenstein and Oldenburg. Miró is not only the most influential painter of the generation that came to maturity between two world wars; he is also the finest living painter after Picasso...
...significant a painting as Picasso's first major cubist painting, the 1907 Demoiselles d'Avignon. A subtly seething, 8-ft.-high panorama, The Birth of the World, says Rubin, is "in retrospect the point of departure in modern painting," making Miró "the major European progenitor of abstract expressionism." As is often true with Miró paintings, the title offers a clue. It is named for the way in which it was painted, for he re-enacted, so to speak, the first chapters of Genesis. At first, he covered his canvas with spots, drips and washes. Then from...
...thing." Some ornate fantasies, like The Harlequin's Carnival, became popular immediately, but others had to wait decades for their audiences. His 1930 Painting is as elemental and totemic as a mobile by Calder -or any painting that would be turned out by New York's abstract expressionists in the 1950s...
Spain showed 23 artists whose displays were chockablock with social comment. Most notable was Eduardo Sanz's walk-in Chapel for an Important Man, where altar and stained-glass windows were replaced by abstract, luxurious designs of plastic, glass, polished wood, seemingly a bitter jest at the pious pretensions of the rich. As for Marisol, usually classified as an American artist, she scored a triumph of nationalist and artistic politicking by exhibiting as a Venezuelan, thus getting a whole pavilion for 35 of her delightfully inimitable dolls...