Word: expressionist
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Dates: during 1960-1969
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...perishable. Oil paintings in particular suffer from uneven temperatures, direct sunlight, or smog. Some of the finest works of Rembrandt, a meticulous craftsman, have darkened and yellowed after three centuries; several Van Gogh canvases are in danger of disintegration after only 75 or 80 years. As for abstract expressionist paintings, which are characteristically encrusted with heavy, hastily applied impastos-often by artists who are relatively untutored in the complexities of oil technique-museums find that they should be periodically turned upside down so that errant paint will ooze back into place...
...Russian film and naturally there's plenty of pseudo-classic montage, dramatic sky and stark, navel-level camera work, but the really exciting footage owes something to the early German directors. Wasn't it Robert Weine who painted the foreboding expressionist shadows on the set of The Cabinet of Dr. Caligari? And Carl Mayer who strapped a camera on Carl Freund, the "drunk" camera man of The Last Laugh...
...death gave his art a touch of personal agony that overwhelmed the visible world he painted. "True art," he wrote, "is to depict unreality." And his brusquely applied colors readied the public for the subsequent makers of German expressionism, such as Max Beckmann and Oskar Kokoschka. In awe, one expressionist, Ernst Kirchner, admitted of Corinth: "At first he was mediocrity. At the end, truly great...
Truth in Garbage. Rauschenberg has been called a neo-Dadaist, a belated abstract expressionist, a junk assemblagist, a pop artist, a hyper-cubist, even an anti-artist and, of course, a nut. "Great!" he says. "I like that. I'm only concerned when the critics stop changing their minds and get a fix on me." Getting a fix is hard because change is the essence of his experimentation. Yet at the heart of Rauschenberg's work is a clear conviction that a heightened order of truth can be found in everything and anywhere, even in the garbage dump...
Pavilion in a Ravine. At first, Saari nen had proposed a concrete building, but the coolness of Deere executives led him back to the expressionist truth of architecture: the building ought to symbolize its purpose. So Saarinen chose steel, the material of plows and tractors, to "reflect the big, forceful, func tional character of its products...