Word: baur
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...America, Critic John Baur once wrote in an excellent Whitney Museum monograph, "the bitterness and disgust which had inspired the great German drawings evaporated like night mist." Grosz painted the Manhattan skyline and the city's lights and signs. Instead of decay, he drew sensuous female nudes-the human body exploding with youth and health. Instead of ugliness, he drew and painted lyrical pictures of Cape Cod. Edmund Wilson recalls how fascinated Grosz was by the idealized life pictured in American ads showing handsome young people with every material blessing. The scourge of Berlin, it seemed, had lost...
...paintings cover his development from his sharply focused early realism to the sun-swatched impressionism of his later work. He was, in fact, perhaps the first American to be attracted by the impressionists' vision. But he was never an imitator of his great French contemporaries. Critic John Baur notes that he was always torn between his loyalty to line and solid form and his wish to achieve the effect that the impressionists got by dissolving line and form in color and atmosphere. Robinson never solved the dilemma, but this failure may have been all to the good. What Robinson...
...blitz? Collier can only make a guess. The night before, an insomnia-ridden Adolf Hitler had poked irritably at the log fire in his Bavarian mountain-lodge retreat; a captive audience of Nazi underlings yawned in their teacups. Then Hitler's secretary, Martin Bormann, and Pilot Hans Baur brought up the recent British raid on Berlin; was not some reprisal in order? Though every available aircraft was being readied for top-secret Operation Barbarossa (the attack on Russia), Hitler foolishly agreed...
Artists' reaction to the Baur thesis reached from surprised agreement to eloquent indignation. William Kienbusch (TIME, June 4, 1956), who sometimes uses photographs in painting nature-titled abstractions, readily admits that nature has long been an at-the-elbow companion. Says John Helicker, another abstractionist: "The best paintings I have ever done relate to the deepest feelings I have had about a place." But old-line Abstract Expressionist Adolph Gottlieb grimly dissents: "I never use nature as a starting point, I never abstract from nature, I never consciously think of nature when I paint. In the painting...
Such celebration of painting materials for their own sake (much as if a composer were to write a concerto about, not for a violin) seems on its way out. Strongest trend Baur spotted was "a general but oblique redirection of abstract expressionism toward nature for its own sake." Painter Kyle Morris put it simply: "This kind of painting does not start with nature and arrive at paint, but on the contrary, starts with paint and arrives at nature...