Word: hofmann
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Dates: during 1970-1979
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...Minor. It became his most popular work and, after the Tchaikovsky First Concerto, the most popular piano concerto in the repertory. As for Rachmaninoff, he went on to lead one of the few 20th century musical careers that can accurately be called spectacular. Only the Pole Josef Hofmann could be compared with him as a virtuoso pianist, and even Hofmann behaved deferentially around Rachmaninoff. No other concert pianist, except Prokofiev, had Rachmaninoff's stature as a composer. No composer since Liszt ranked as such a keyboard soiree idol...
...drawing at the edge of the canvas satisfies a felt need to reflect the frame in the structure of the painting, but also allows old style, "painterly" handling to survive. (The styles of some of Olitski's edges can be read as homages to the paint handling of Hans Hofmann or Clyfford Still...
...speak of a "comeback" by an artist as conspicuous as Motherwell may seem odd, but it has a certain point. At 57, he is one of the last charter members of the New York School of the 1940s to remain alive and painting. Pollock, Gorky, Rothko, Kline, David Smith, Hofmann, Newman and Reinhardt are all dead, and their work has been so long discussed, labeled, ticketed and run through the meat grinder of mass art education that it has already assumed the air of an august period style-the last "heroic" American art. The absurd consequence has been that...
...Josef Hofmann: Works by Chopin, Liszt, Mendelssohn (Victrola). A superstar born in 1876 to the grand romantic tradition. Hofmann never officially released a commercial studio recording after 1924. In May 1935, however, when he was still at peak form, Hofmann made some test recordings for Victor, now released for the first time. The sound is uneven, but the first movement of Chopin's B-Minor Sonata is a matchless example of the controlled give and take he brought to large-scale works. The Chopin-Liszt Maiden's Wish shows how delicate he could be at painting musical miniatures...
Written Paint. With hindsight, it is difficult to look at the broad, loosely brushed planes of primary color in Marin's watercolor of 1921, Red and Green and Blue-Autumn, without thinking of Philip Guston or Hans Hofmann; and Marin's Cape Split. Maine, with its fuzzy-edged, vibrating and organic shapes held together by tense flicks of line, equally suggests Gorky or the early De Kooning. Near the end of his life, Marin was almost literally writing the paint onto his canvases -his own title for a 1950 oil was The Written Sea-with an immediacy...