Word: expressionistic
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Some angry young black artists consciously paint black. Others of the generation that came of artistic age during the time of the new black militancy are painting and sculpting in styles ranging from expressionist to minimal, and they resist being classified racially. All these artists generally resent white sponsorship, even while recognizing that they have to deal with the white Establishment. As black men, they must approve the new recognition won by black artists. But as artists, they dislike the white man's current celebration of them merely because they are black. As one artist put it: "The black...
MARK ROTHKO'S paintings lead you into calm thought, into an atmosphere of color, that dissolves any word attempting to describe it. From surrcalistic forms his images evolved into monumental rectangles that hover on the canvas. His color is subtle and strange. Part of the Abstract Expressionist movement, his work differed radically in tone and form from the others, like Jackson Pollock and William de Kooning. The simplicity of his rectangles foresaw the purity but not the hardness of the images of minimal...
THIS FORMAL analysis implies essential truths about the evolving situation of the protagonists. Lang is commonly called an Expressionist director who loves to trap characters in fate-filled plots. This view ignores Lang's persistent them of evidence of perception of the man who learns about the situation in which he is caught...
DURING THE ten years between this and the second Mabuse Lang's dramatic construction and visual style underwent radical changes, changes basically of social perspective. Leaving films full of personalities, he began to make long-shot Expressionist dramas without real characters: the two Nibelungen movies and Metropolis. Abandoning these fatalistic myth-abstractions, he returned in M (1931) and The Testament of Dr. Mabuse (1932) to films that treated social reality directly in the actions of a few closely connected characters...
...world with eleven appallingly identical symphonies which are massive, repetitious, incoherent and only convulsively appealing. If he is given any credit at all, which rarely happens since people prefer summary condemnation to critical acceptance of monumental genius, it is as an influence on Mabler and certain of the later expressionist composers. But Bruckner can be dismissed as easily, and with as much in telligence, as can Beethoven or Chartres Cathedral. This image of an uninspired symphonic rhetorician of beleaguered loquacity, "tortive and errant" as Shakespeare's Agamemnon, must yield to a clearer portrait of a consummately endowed symphonist firmly...