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...list of artists to suffer the fatal derision of Nazi Germany was one of Germany's greatest sculptors, Ernst Barlach. He died in 1938, shunned by his townspeople, condemned (falsely) as a Jew and Bolshevik. His work, based on the centuries-old tradition of wood carving and German Gothic art, was banned as "degenerate" and typical of "the passive Slav soul...

Author: /time Magazine | Title: Art: Modern Gothic | 4/2/1956 | See Source »

...Vanguard. To Barlach the peasants became "symbols of the human situation between Earth and Heaven." In giving the symbols form, Barlach again turned his back on Paris, chose instead to model his peasants in terms of their own traditional wood-carved figures and the Gothic sculpture of his native town. The result, far from seeming a throwback to a bygone style, rapidly placed Barlach in the vanguard of German expressionists...

Author: /time Magazine | Title: Art: Modern Gothic | 4/2/1956 | See Source »

Barlach summed up his disgust with the first World War with his famed Avenger, whose headlong, sword-slashing figure was later to arouse Adolf Hitler's wrath. For a group of 16 figures commissioned for the Gothic niches of Liibeck...

Author: /time Magazine | Title: Art: Modern Gothic | 4/2/1956 | See Source »

...stone's throw from its "collegiate Gothic" Green Hall, Wellesley College will put up two ultramodern buildings containing a 350-seat combined theater, lecture and recital hall and a gallery for art exhibitions. The gift of Spokane Lumber Tycoon George Frederick Jewett and his wife (Wellesley '23 and a trustee of the college) and their son and daughter, the buildings will form the Jewett Art, Music and Theater Center. Said President Margaret Clapp of the gift: "Aware of the challenge which automation will present to the good use of leisure time, and aware that women educated through...

Author: /time Magazine | Title: Education: Liberal & Creative | 2/20/1956 | See Source »

...most modern pioneers, matured slowly, did not find his own way as an artist until he was past 40. Although he spent more than half of his life in Germany, his painting owes little to German expressionism. Its technique is borrowed from Paris cubism; its architectonic spirit relates to Gothic churches and Bach fugues; its cool severity seems a personal reflection of modern engineering. Says U.C.L.A. Art Gallery Director Frederick Wight: Feininger "unlearned the last century's concept of [space as] a three-dimensional void. Instead, he gradually makes a clearing around the object through a series of projections...

Author: /time Magazine | Title: Art: The Age of Experiment | 2/13/1956 | See Source »

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