Word: expressionist
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Dates: during 1960-1969
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...past ten years, Maria Helena Vieira da Silva, 53, has not only been the leading woman painter of the School of Paris, but also has surpassed many of the men. Some critics have called her a "lyric expressionist," others an "abstract landscapist"; perhaps she is both and more. "With present techniques, an architect can build whatever he wants to," she says. "Why shouldn't I be able to build what I like in a painting?" Painter Vieira da Silva builds intricate constructions that never say, but only hint at what they...
...yellow cow by German Expressionist Franz Marc looks like something out of a child's nursery rhyme. Small Seurat peasants bend to their toil near some childlike magic created by Paul Klee and a few austere and haunting landscapes by Lyonel Feininger. And near them hang the museum's latest acquisitions-two perfect chrysanthemums, one in pencil, the other in watercolor-done by Piet Mondrian in the days before he began painting his color-laden grilles...
...hardiest roots has been the long Polish tradition of abstract art, some of whose practitioners date their conversions back to the days of early cubism and Russian constructivism. Even six years of Nazi occupation failed to eradicate it; a 1945 victory exhibition in Cracow abounded in fantastic expressionist and nonobjective canvases. Though this first frantic flowering was followed by a wintery decade of tough Stalinist socialist realism, Polish painters worked in secret. "For the mass of the people, the stumbling block between themselves and the regime was their Catholicism," a recent U.S. visitor noted. "For the intellectual, it was abstract...
...German Expressionist Emil Nolde, colors had a life of their own: "Weeping and laughing, hot and holy, like love songs and eroticism, like chants and magnificent chorales. Vibrating, they peal like silver bells and clang like bronze bells, proclaiming happiness, passion and love, soul, blood and death." The "sweetness, often sugariness" of Renoir and Monet was not to his harsher taste, and he complained bitterly in the years before World War II that "their art, because it meets popular taste, is elected darling of the world...
...German Artist." Nolde himself would have scorned such a simple pigeonhole. "Intellectuals and literati call me an expressionist," he once exploded. "I do not like this narrow classification. A German artist, that I am." Born Emil Hansen in the north Schleswig village of Nolde (he did not change his name until he married, at 34, in 1901), he identified himself with the bleak environment of north Germany, acquiring an outer taciturnity and an inner turbulence shared by those other brooding giants of the north: Norwegian Edvard Munch and Belgian Recluse James Ensor. As a peasant lad, Nolde was early given...