Word: expressionistic
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Elaine de Kooning, the amicably separated wife of the famous Willem de Kooning, is an abstract expressionist to whom portraits "have always been a passion." Her pictures are hardly the sort that a board of directors would buy to put in a frame marked, "Our Founder...
Pictures of Visions. "I'm not an abstract expressionist," Greene insists, and in his works he can find plumply rounded female forms and filamentlike masculine figures. "Some people call me a symbolist, but that alone is not a style. Painters might be the last great religious people, in the sense of having a vision. Yet if we really knew what we were painting, most of us would commit suicide." Though Greene's late oils are flamboyant with color, the dark side persists in black maws that gape open in his canvases. "There is always something terrible happening...
...impact will "Art: USA: Now" have in Europe? The best prediction can be made by comparing the new show to a big collection called "The New American Painting" which toured Europe in 1958 under the sponsorship of Manhattan's Museum of Modern Art. By then, the U.S. abstract-expressionist movement of the '40s had vastly influenced European painters, and today Jackson Pollocks are in many of the well-known collections abroad. Nonetheless, the show's uncompromising abstractions left all but Europe's most sophisticated critics baffled...
Died. Gabriele Münter, 85, eminent German expressionist painter and one of the key founders of the fabled Blue Rider group of modern artists (Wassily Kandinsky, Franz Marc, Paul Klee), a mournful, gentle Berliner who was Abstractionist Kandinsky's longtime mistress and just last year received her first U.S. one-woman show; after a long illness; in Murnau, Germany. Kandisnky jilted her during World War I, but left her 120 oils and countless graphics (valued at more than $500,000), which the scorned Gabriele left unwrapped for 43 years until 1957 when, without so much as a glance...
Denver-born Robert Beauchamp, 38, studied under Abstract Expressionist Hans Hofmann, but in 1953 returned to the figure. "It was an emotional thing," he says. "I felt abstract art was too remote from immediate life, that I had to wear blinkers when I walked out onto the street." His use of color goes back to the German expressionists ("I reverted to what had preceded Hofmann"), but the fantasy is all Beauchamp. His creatures crouch or dance in junglelike settings, seem often to be engaged in some sort of orgy. Beauchamp is unable to explain why his fantasy takes the direction...