Word: goghs
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...89th. Frank Lloyd Wright's curvilinear museum makes a fitting setting for the "endlessness" of Architect-Sculptor Frederick Kiesler, who turns a room into a work of art, links painted and sculpted units to form a labyrinth of surprises. In the main gallery is the 120-work Van Gogh collection lent by the painter's nephew. Both exhibitions through June...
...loudest fury raged around three paintings presented as works of Jackson Pollock. The Van Gogh of the abstract expressionists has sold in private dealings of his best work for more than $100,000; a price sharply below that could hurt the Pollock market. His widow, Painter Lee Krasner, who owns many Pollocks, dropped in anxiously on Parke-Bernet to see the works. She pronounced that her husband never dripped these and hurried off to the state attorney general's office to sign a restraining order to stop the sale. Parke-Bernet had no alternative but to withdraw the paintings...
GUGGENHEIM- Fifth Ave. at 89th. The cities in which Van Gogh lived are landmarks in his style. His nephew's collection (120 works) offers a unique opportunity to follow the painter's path. Leaving the bleak peasantry of Nuenen (The Potato Eaters) for Antwerp and Paris, his palette brightens. When he reaches Aries in the south of France it bursts into the brilliant light of high noon (Sunflowers, The Harvest, his own Yellow House). Van Gogh spent the last two months of his life at Auvers-sur-Oise, there painted skies deepening with twilight. Through June...
Oddly, Mondrian's art paralleled the rather raw expressionism of his countryman, Van Gogh, until he was 37. Then, influenced by cubism, he began simplifying what he saw to horizontal and vertical lines. Flowering apple trees, building fronts, jetties into the sea soon dissolved into what he called "plus-and-minus" rhythms. He wrote that he was searching for a higher "reality detached from the transitory reality of forms...
...aging oils is time's contemptuous comment on Mondrian's ice-pure ideals. He himself wrote in the mid-'20s that he preferred "a more or less mechanical execution" using "materials produced by industry," because de Stijl sought a rapport with the new technology that Van Gogh and other 19th century artists generally detested. In essence, the Stijlists felt that since the machine cannot make nature, it must if properly used make...