Word: corcorans
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Dates: during 1950-1959
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Rosenberg's latest museum exhibition at Washington's Corcoran Gallery last week once again proved his own happy confession: "I have never been able to lock the world out of my studio." Rosenberg avoids flashy technique and fashionable abstraction. Instead, he paints loose, free and colorful impressions of the things he loves: flowers, fields, streams and especially the Adirondack Mountains...
...daughter of the late St. Louis Post-Dispatch Publisher Joseph Pulitzer, in 1946, now has four children. For relaxation, he plays golf (handicap: 9) or tennis. But most of his time is spent in his office on the third floor of a converted hospital across from Washington's Corcoran Art Gallery, where he logs twelve hours a day. He works standing up, telephone to his ear, or prowls back and forth between his desk and work table. His friends insist that he tries to do too much himself, but General Quesada sees no help...
...Organized by Associate Editor Cranston Jones, who has won two American Institute of Architects' awards (Saarinen cover; Edward D. Stone cover, March 31, 1958), and designed by Gyorgy Kepes, M.I.T.'s Professor of Visual Design, Form Givers at Mid-Century opens this week at Washington's Corcoran Gallery, first stop on a nationwide tour. For a preview, see ART, The New Architecture...
...well has this revolution succeeded? And where does it go from here? In an ambitious effort to answer these questions, the American Federation of Arts this week opens a major exhibit in Washington's Corcoran Gallery. Titled "Form Givers at Mid-Century," the show, sponsored and organized by TIME, will move on to Manhattan's Metropolitan Museum in June, then tour the nation. Gallerygoers at the Corcoran will see models and photographs of 66 pivotal buildings, set off by panel-sized color transparencies, which provide a sampling of the best in 20th century architecture...
Weeding through 1,600 entries, Corcoran Director Hermann Warner Williams concluded that the pendulum may at last be swinging back to Levine's (and Bierstadt's) way. So far, Williams finds this trend toward more representative subjects only partially successful. Says he: "There is a more or less lost generation of young painters who turned up their noses at the basic disciplines of draftsmanship and just jumped into abstraction. Although they are now trying to use figures, they can't make the switch because they haven't had those early disciplines...