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...Berto Lardera, 45, is a self-taught Italian abstractionist who now lives and works in Paris. One of the fast-growing school of sculptor-welders, Lardera got his start in 1944 in war-damaged Florence when he found twisted chunks of iron and scrap in the rubble, and began to use metal instead of stone. He sketches his sculptural idea on paper before cutting up sheets of metal with shears and blowtorch, then welds the pieces together into the finished product. Over the years he has also learned to unite copper and iron, and graft brightly colored mosaics into...

Author: /time Magazine | Title: Art: New Directions | 4/8/1957 | See Source »

Unlike poor Vincent van Gogh, who left his unsold paintings to his family only to have more than 500 of them disappear through carelessness and neglect, Abstractionist Wassily Kandinsky was a lucky man. He left a huge legacy of his work to his former mistress, and they survived world wars, revolutions, putsches, even the fury of a woman scorned. The woman scorned was Gabriele Munter, Kandinsky's mistress for more than 13 years, who never once looked at the pictures the old master left with her in 1914. Last month, on her 80th birthday, frail, white-haired Gabriele turned...

Author: /time Magazine | Title: Art: Old Master & Mistress | 3/18/1957 | See Source »

...Wolf Kahn, 30, who first studied with Manhattan's leading abstractionist mentor, Hans Hofmann, then on his own switched to realistic pastels, now paints in a lyric, impressionist style that earns him a place among the Museum of Modern Art's new acquisitions. For his Late Afternoon (opposite), painted last summer in Provincetown, Mass., Kahn derived his inspiration from both the setting and his pretty model, Fellow Artist Emily Mason. He says of the completed work: "I tried to express tranquillity and contentment with overall lightness of tones, general vertical composition and subdued, dancing brush strokes...

Author: /time Magazine | Title: Art: The Younger Generation | 3/11/1957 | See Source »

Through the cold-water flats, walk-up studios, automats and bars where Manhattan's artists live and congregate buzzed disturbing news: the first major defection from the ranks of the abstract expressionists had taken place. Longtime Abstractionist John Ferren, 51, had hung a show of his new paintings in which nearly every canvas was centered around an all-too-recognizable bottle, beaker, carafe or cognac glass. What had the artists buzzing was why Ferren had hit on the bottle, and what had hit him hard enough to make him turn his back on the abstractionists' decade of painting...

Author: /time Magazine | Title: Art: The Bottle & I | 3/4/1957 | See Source »

Through the Sound Barrier. The effort involved in reorienting around a central image seemed as hard to Ferren as "breaking through the sound barrier." In fact, some such move has long been in the offing. Abstractionist Willem de Kooning first tried it with his grotesque woman images (TIME, April 4, 1953), only to relapse into abstraction. Drip Originator Jackson Pollock was himself struggling with half-glimpsed totem images before his death in an auto crash last August. Younger painters are now pulling and punching areas of pigment on their canvases to achieve a new-found "landscape look" that has been...

Author: /time Magazine | Title: Art: The Bottle & I | 3/4/1957 | See Source »

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