Word: europeanization
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Dates: during 1970-1979
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Plainly worried about the future of détente were America's European allies, and even some U.S. Soviet specialists. West Germany's Schmidt is bringing Carter a message of concern informally agreed to by the leaders of all nine Common Market countries; they are urging Carter to moderate his grapeshot approach to human rights...
...group, his conscious Francophilia set him rather apart from his colleagues. It was often taken as a denial of American newness. as a manifesto of eclecticism. Other artists dissimulated their debts to French painting or let critics bury them. Not Motherwell. Thus he was much abused as a mock European, all taste and private income-a Dick Diver, not attuned to the harsh and epic voice of the American pictorial myth...
...rise in this admirable artist's reputation over the past ten years has had much to do with the slow realization in America that serious art is indivisible, that the mere fact of being American does not conscript a painter into a doomed Oedipal struggle with his European ancestors, that the battlegrounds of art history soon revert to pastures. There is no secret about Motherwell's sources: cubist collage, surrealism, Matisse. In fact, his own collages -perhaps the most consistently beautiful body of work produced by any artist in the past five years-could not exist without...
...garde nutrients. From 1900 to the end of World War II it flowed west, so that the forms of American modernism were almost all based on prototypes offered by the School of Paris from Cézanne and Matisse onward -cubism, futurism, constructivism, surrealism, in fact nearly every successive European movement found its provincial resonance among New York artists. But then, in the early 1950s, the stream slackened and reversed its course. New York was the center, Paris the province. It was now the turn of the Americans-Rothko and de Kooning, Johns and Rauschenberg, the Pop artists...
...other hand, the show treats such major artists as it does include quite inanely. The section dealing with abstract expressionism is feeble and disconnected. If one wanted, for instance, to demonstrate the European context of Jackson Pollock's drip-drawing, one would show the appropriate works by Masson and Ernst, not the empty doodle by Georges Mathieu that hangs next to Pollock's Number 32. The dismal efforts of French artists to turn their Dada heritage into American Pop are much in evidence. But it is one thing to dis inter the unmourned trivialities of people like Martial...