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...Gogh, but the real sources of Corinth's robust energy were the ruddy-cheeked oils of Rubens, Hals and Rembrandt. An exhaustive retrospective that opens this week at Manhattan's Gallery of Modern Art (see opposite page] and a graphics show at the Allan Frumkin Gallery reveal how - having apparently concluded that Germans make bad French impressionists - Corinth went on to smash the Wagnerian mold...

Author: /time Magazine | Title: Painting: Valhalla Revamped | 9/25/1964 | See Source »

PIET MONDRIAN-Frumkin, 32 East 57th. Mondrian depicted nature-before he stripped it to its bare essentials-in scenes of Dutch windmills, rivers and forests. These drawings and oils, done between 1905 and 1908, show keen insights and rhythmic vitality in a self-assured style, but offer little indication of the plastic purist he was to become (through May 23). For that, see "Mondrian, De Stijl and Their Impact," at Marlborough-Gerson, 41 East 57th, where his spatial austerity and its potential for beauty is fully realized in his own and in the works of 22 followers. Through...

Author: /time Magazine | Title: Art: Art in New York: may 8, 1964 | 5/8/1964 | See Source »

LOVIS CORINTH-Frumkin, 32 East 57th. Sixty self-portraits by the late-blooming German impressionist (1858-1925) offer an authentic study in character. Paintings, prints, drawings and watercolors, ranging from the belabored early works of the artist's 20s to the violent chiaroscuro, powerful brush stroke and emotional fervor of his later years. Through...

Author: /time Magazine | Title: Art: Art in New York: Jan. 3, 1964 | 1/3/1964 | See Source »

ROBERT M. FRUMKIN...

Author: /time Magazine | Title: Letters, Oct. 29, 1956 | 10/29/1956 | See Source »

...name of Evelyn Statsinger, 26, is becoming an honored one among American abstractionists. Last week her big, pristine drawings were on view both at Chicago's Frumkin Gallery and at Manhattan's Whitney Museum, where her one entry in the Whitney's annual roundup of contemporary watercolors, drawings and sculpture overshadowed most of the 180 other exhibits. Its subject matter was simply a series of unrecognizable, vaguely amoebic shapes. What made the drawing stand out was its haunting mood of calm and mystery, like a sky hung with changing clouds...

Author: /time Magazine | Title: Art: Girl Explorer | 4/12/1954 | See Source »

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