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...aficionados who milled around the huge canvases at the opening rapidly began sorting out impressions. Jackson Pollock was the most important, they decided. Mark Rothko's shimmering panels of color were their favorites, followed by the works of Clyfford Still (TIME, Nov. 25), Franz Kline, Philip Guston. Sam Francis. The qualities most admired: "furious vitality," "unbiased liberty," "a renovating spirit." Cried Critic Eduardo Cirlot: "The most important show that Spain has seen in the last 25 years. There's no doubt that American artists are the vanguard of the world...

Author: /time Magazine | Title: Art: American Abstraction Abroad | 8/4/1958 | See Source »

...price of $10,000 before his death two years ago. Major Pollock canvases are now bringing up to $30,000 each. But the boom is by no means all Pollock. Among the sellout shows this year: Mark Rothko (top price $5,000), Hans Hofmann (top $7,500), Philip Guston (top $4,000), and William Baziotes, whose recent show sold out at $3,500 top even before it opened. Adolph Gottlieb's show sold eight of ten (top $4,000), and Sculptor Seymour Lipton's show sold 16 of 21 with a top price...

Author: /time Magazine | Title: Art: Boom on Canvas | 4/7/1958 | See Source »

Among the buyers flocking to Manhattan galleries is a new and growing breed: European dealers and collectors bent on buying U.S. moderns. In recent months London's venerable Arthur Tooth & Sons has bought works of Pollock, Clyfford Still, Guston and Baziotes. Rome's Tartaruga gallery picked up paintings by James Brooks, Ad Reinhardt, Donati, Marca-Relli, Rothko and Franz Kline. Still others have been shipped to Paris...

Author: /time Magazine | Title: Art: Boom on Canvas | 4/7/1958 | See Source »

...twelve: Ernest Briggs, James Brooks, Sam Francis, Fritz Glanner, Philip Guston, Raoul Hague, Grace Hartigan, Franz Kline, Ibram Lassaw, Seymour Lipton, José de Rivera. Larry Rivers...

Author: /time Magazine | Title: Art: TASTEMAKERS' CHOICE | 6/4/1956 | See Source »

...With Guston's Summer, 1954, abstract expressionism becomes its own opposite: abstract impressionism. Guston, who once had a high reputation for academic art, does not think of his later paintings as pictures at all. Says he, "They are myself." In order to put himself into his canvases, Guston makes them close to his own size. For such self-consciously personal work, the results look strangely like blowups of Claude Monet's water-lily impressions...

Author: /time Magazine | Title: Art: The Wild Ones | 2/20/1956 | See Source »

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