Word: gropper
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Dates: during 1930-1939
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...mediaeval art, twenty-two on Renaissance and Baroque Art, and one on Modern Art. Perhaps it is because the critical apparatus of most scholars is so beautifully equipped to deal with Masaccio and Piero della Francesca that it finds itself at a loss when confronted by Dali and Gropper. At a symposium on Modern Art some years ago, I heard a scholar who has written much and wisely on the art of the Italian Renaissance attempt, quite unsuccessfully, to cope with some of the more extreme forms of modernism; I concluded that his powers of connoisseurship were not translatable into...
...Gropper. At bald, velvet-eyed Herman Baron's A.C.A. Gallery last week the best sharpshooter of all U. S. cartoonists had his third show of notable paintings. William Gropper is a short, thick man with dreamy grey eyes and an air of subdued but uninhibited amusement. He paints as he draws for the New Masses, from memory or imagination, as fast as he can and as briefly, with rich reds, yellows and slashing whites. Last summer he spent three months in the West, exhibited the results last week. Among them: Waiting (see cut), a Kansas cow, dying of thirst...
...enough works by living artists. This is true, but it is not true without qualifications which irate artists usually omit. Last year the favorite butt of these attacks, the Metropolitan Museum of Art, bought no less than 28 paintings by contemporary U. S. artists, including Waldo Peirce, William Gropper, George Biddle. In general, museums have not only loosened up in this respect, but have begun to spend less money on the acquisition of sacred masterpieces and more on a job just as essential to the artist: public art education. Since 1932, for one example, Manhattan's Museum of Modern...
...subsequently added another $100,000 in memory of his son Arthur Hoppock, to change all this. In the past ten years 85 paintings by living U. S. artists have been bought by the Metropolitan. Last week a significant addition to this catalog was announced: an oil by William Gropper, oldtime cartoonist on the radical New Masses and Daily Worker, who began to show his paintings two years...
Called The Hunt, the Gropper picture is a sombre scene in deep yellows. Armed men and dogs are coursing through a scrubby thicket under a hill. The grim haste of the figures plainly implies that The Hunt's quarry is Man. Explained Artist Gropper: "I felt the irony of the hunt-the sportsman's equal pleasure in hunting game and hunting Negroes-and I decided to commit it to paint...