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...Abstractionist Hans Jaenisch, 43, is considered one of Germany's most "promising" artists. Like Hofer, he lost most of his lifework to allied bombs, but Jaenisch was almost pleased when he returned from a Texas P.W. camp and found his paintings gone. "It left me free to begin all over again." Jaenisch's Air Lift: is one of 20 paintings he did on the same theme. The first few in the series reflect his early vision of the planes as "terrifying animals moving through the air. On these fearful creatures our whole life hung." By the time...

Author: /time Magazine | Title: Art: Painted in Berlin | 3/26/1951 | See Source »

...tastes do change. When Peter Blume's big, weird, neatly painted South of Scranton won the coveted Carnegie International prize 16 years ago, critics clucked and the public pooh-poohed. This year the Carnegie jury went overboard for a yet stranger painting by Paris Abstractionist Jacques Villon (TIME, Oct. 30). The Pittsburgh public, meanwhile, has caught up with Connecticut's Blume. When the ballots were counted, the popular prize went to his entry, The Rock...

Author: /time Magazine | Title: Art: Rock Candy | 1/8/1951 | See Source »

...awarded $8,500 in prizes. The awards were all safe as warm milk; granted to men who had won many prizes before, they ran the gamut from watered-down abstractionism to souped-up realism. Basket Bouquet, an impeccable and wholly uninspiring arrangement of lilac smudges by Cape Cod Abstractionist Karl Knaths, took first prize. It looked rather like a flat but tasteful Victorian sampler, translated into the smeary medium of oils. California's Rico Lebrun came in second with Centurion's Horse, a chalky, Picassoid nag, understandably hanging its head in a canvas as dark and narrow...

Author: /time Magazine | Title: Art: The State of Painting | 12/11/1950 | See Source »

...center of one broad lawn, standing like a nightmare clothes rack with triangular metal planes hung out to dry, was a quivering Mobile by U.S. Abstractionist Alexander Calder. Sprouting from the grass like a strange new species of mushroom were a pair of coldly obscure stone lumps by Englishman Henry Moore, who had laconically dubbed them Carving and Sculpture. Near by perched two glistening, seal-sleek shapes entitled Crown of Buds and Bad Fruit, by ex-Dadaist Jean Arp. "The most obscene works in the show," commented one visitor, "but nobody realizes...

Author: /time Magazine | Title: Art: Antwerp Does Better | 7/31/1950 | See Source »

...Knowing. What riled the abstractionists was that the seven juries chosen for the contemporary show were on the side of representational, i.e., conservative, art. The juries were composed mostly of painters, and though some of those picked used moderately abstract techniques in their own work, there was only one out & out abstractionist on the list...

Author: /time Magazine | Title: Art: The Revolt of the Pelicans | 6/5/1950 | See Source »

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