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Manhattan Publisher Eugene Schwartz, for one, is fascinated. "Painting has been getting complicated again, brushwork and expressionism are coming back," he says, citing the expressively sprayed canvases of Jules Olitski and the newly fluid pictures of Larry Poons. "New art is disturbing to everybody," warns a big pop collector, Robert Scull, who is also a major patron of the newer art. "It takes a realignment of your computer to like it." Says Jan Van der Marck, director of Chicago's Museum of Contemporary Art: "They are doing just what the pop artists did; they are pushing the limits...

Author: /time Magazine | Title: Art: The Avant-Garde: Subtle, Cerebral, Elusive | 11/22/1968 | See Source »

...brushwork is highly personalized and uninhibited. The earthy zest and pounding rhythm of Luca Giordano's 1702 Crucifixion is all the more remarkable because the artist turned out his work at maximum speed; in his day, he was known as Luca fa presto, or Fast Worker Luca. Giovanni Antonio Pellegrini's Fall of Phaëthon is built of thin, semitransparent layers of oil paint and has a lightness that the finished fresco undoubtedly lacked (the sketch has outlived the fresco, which was destroyed in World...

Author: /time Magazine | Title: Arts: Before the Boldness Vanished | 11/15/1968 | See Source »

...reclusive wen-jen introduced a style that was to last for centuries. Abandoning the sweetly colored realism of the late Sung court painters, they developed a powerful expressionism that glorified a painter's unique "handwriting." Landscapes and bamboo stalks were popular because such subjects put a premium on brushwork. Colors and perspective were largely abandoned, human figures casually sketched...

Author: /time Magazine | Title: Art: An Age of Innovation and Withdrawal | 10/4/1968 | See Source »

Wang Meng (ca. 1309-1385), one of the four great wen-jen masters, reduced his Scholar in a Pavilion Under Pine Trees to a ropily textured, rolling composition peppered with the dots that were his particular brushwork "signature." While the finished composition may seem to Western eyes much like other Chinese paintings, to scholars it is as different from the Sung realists as a Jackson Pollock from an Andrew Wyeth. It is also peculiarly modern. Says Cleveland's Lee: "At the heart of the whole modern concept of painting is the premise that technical skill is something almost anyone...

Author: /time Magazine | Title: Art: An Age of Innovation and Withdrawal | 10/4/1968 | See Source »

...tenor; Woody Shaw Jr., trumpet), he spreads sprays of dazzling notes that support and enhance the horns' flights. In Tones for Joan's Bones, he displays a more reflective gleam by smoothly rolling the melody over Steve Swallow's loping bass and Joe Chambers' agile brushwork...

Author: /time Magazine | Title: Television, Theater, Records, Cinema, Books: Straw Hat | 8/23/1968 | See Source »

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