Word: genauer
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...between architecture and painting, in which both come out badly maimed," declared Art Critic John Canaday on Page One of the New York Times; "The most beautiful building in America," retorted Critic Emily Genauer in the New York Herald Tribune. "A building that should be put in a museum to show how mad the 20th Century is," editorialized the New York Daily Mirror. "Mr. Wright's greatest building, New York's greatest building." said Architect Philip Johnson, "one of the greatest rooms of the 20th century." "Frank has really done it," snapped one artist. "He has made painting...
Pleased: None. It was a selection that pleased none. As soon as the choices were announced (and before they were seen), critical guns took aim from the whole perimeter of opinion. Cried New York Herald Tribune Art Critic Emily Genauer: "Our exhibits will indeed be a scandal." Her objections centered on the absence of traditional painters, and the emphasis on abstraction. The New York Daily News predicted an "atrocity," called for reinforcements from Grant Wood, Thomas Hart Benton, Maxfield Parrish and Norman Rockwell...
...critics asked, is a museum the proper place for such a show? The New York Herald Tribune's Emily Genauer said the exhibit made her feel she had attended a dinner party with guests from Mme. Tussaud's waxworks. Said she: "Museums ought to stick to their originals. There is no shortage of them, old and new, in America." The New York Times's Howard Devree called it a "neon age substitute" and objected to the "inescapable tang of reproduction...
Hats in the Air. Manhattan critics divided sharply on the show. The Herald Tribune's Emily Genauer found it "all really very good-looking, but it's still so uninteresting." Art News's twinkly old Henry McBride, who has been reviewing for more than 40 years, flung his hat in the air. The show proves, said McBride, "that this country of ours does seem to be really going along at last on its own power, with so few and such slight references to European painting that they may be discounted at the start." Others were less quick...
Critic Emily Genauer thinks she knows why people accept abstract art so tranquilly, "[it is] a welcome avenue of escape...momentary refuge from the concrete image and specific facts of...chaos...