Word: heckels
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Dates: during 1970-1979
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McGill tied the game midway through the first period on a penalty kick just seconds after Hilton's first score of the day, but then the Harvard forwards began to control the loose play and it was never close after that. Ned Childs and Blaine Heckel added tries for the winners...
Harvard scored its first try from a set scrum when Carl Esterhay passed the ball to John Weston who lofted a kick inside the Quincy zone. When the Quincy fullback tried to clear the ball, center Blayne Heckel blocked the kick, picked the ball up and raced 15 yards for the try. Harvard missed the two-point conversion...
German Expressionism, though a "movement" that lasted only fifteen years (1905-1920) consisted of two such steps. The founding of Die Brucke--"The Bridge"--by Ernst Kirchner, Erich Heckel, Karl Schmidt-Rottluff and Fritz Bleyl (who was rather a sleeping partner), crystallized a common effort to develop a new artistic voice. These academy-trained ex-architecture students consciously rejected the socially imposed aesthetic of turn-of-the-century Germany, summed up in the refined nuances of the "Jugendstil" school of painting, and tried to work from an aesthetic of strong, elemental statements. Though anti-bourgeois in their rejection...
...merely one means to an end. Though primitive objects and people appear in many of Die Brucke's works in the collection, these things are only elements of an artistic vocabulary; they are only symptoms, not causes of the artists' perception. Comparing Pechstein's Native Dances (1916) with Heckel's Bathers by the Alter River (1913), one sees that the stylistic traits are the same, though Heckel created his own notion of primitive society out of a jumble of African and South Pacific objects he found at hand in Germany, while Pechstein had the chance to travel to the South...
...vast numbers of drawings done by Die Brucke (many of which are no longer extant) attest to the desire of these artists to make the pencil a sixth sense, an uncerebrated recording of their response to what they saw. Heckel's Reclining Woman (1913) exemplifies the spontaneous quality sought after; the carpenter's pencil defines the woman's body in uncompromising, strong lines, and shades the form into three-dimensionality with vibrating squiggles that are intended to be read as trails of the artist's pencil...