Word: artisticness
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Dates: during 1960-1969
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MAHLER is always referred to as a post-romantic composer, which provides a beneficial point of departures but constantly lead to distortions. The traditional image of this period, which corresponded almost exactly wit his lifetime (1860-1911), is of a lavishly talented collection of artists, aesthetically stranded in the shadows of their majestic predecessors-especially Beethoven and Wagner-struggling miserably with their grandiose inheritance but succeeding only in repeating the great men's first thoughts, and eventually making a cult of lamentation out of their own shortcomings. Thomas Mann described this period of apparent artistic desperation and extravagance...
...twentieth century it is impossible for an artist to indulge himself with simple forms and simple melodies without feeling conscious of dangers of affectation or caricature...
...Kropotkin. The anarchist movement was indeed revolutionary. But its best thinkers in general, and Kropotkin in particular, were not wreckers but visionaries, more concerned with postulating a new society of individual freedom than in the momentary task of destroying the established one. Today's students must realize, adds Artist Barnett Newman in the foreword, that "revolution is more than a Nihilist Happening." They must face up to the question Kropotkin constantly posed: After revolution, what...
...MAYER, though he is not yet a great artist, is driven by the impulse which makes artists great: the compulsion to publicize his private world, to manipulate the same themes until a new real is created, a realm with all the clarity and ambiguity of a dream dreamed many nights. To those like myself who follow and admire his extraordinarily productive career, the titles which separate one production from the next are as arbitrary as the covers which divide Pierre from Moby Dick. Mayer is always visible beyond the veil of his work. He is the farthest cry from...
...last-minute pruning serve only to concentrate our attention on the twin concerns which have been announcing themselves in his work with increasing vehemence at least since White Sale, his first unabashedly personal production: The vision of Mayer as director of showman and the vision of Mayer as artist, poet of the physically tormented. Perhaps because there was so little time to moderate or reshape, and so little time to draw on the formidable talents of his friends, Mayer has given clearer voice to these fundamental propositions about his own world than is his custom. The net effect...