Word: kienbusch
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Dates: during 1956-1956
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...Walton story began in London two years ago when Manhattan Book Collector Carl Otto v. Kienbusch picked up a dilapidated little volume from "a package of odds and ends from the attic of a country house." The volume was a real find-the only copy of a long-forgotten book published in 1577 on The Arte of Angling. Its title page had gone, and so had the name of its author. But its text had a distantly familiar ring. Says Princeton Professor Gerald Eades Bentley in his introduction to the Princeton University Library's republication of the book...
...reading your June 4 Publisher's Letter and understanding the good will and importance of William Honneus' color slides because of their accuracy, it grieves me greatly to have the vast number of your readers getting such an impression of the Maine coast as seen by William Kienbusch. I hope your paintings won't change the mind of the tourist who has been planning a Maine trip...
...artist who has survived this gauntlet and is now coming into his own is Princeton-educated William Kienbusch, 42, now showing at Manhattan's Kraushaar Galleries. The surest sign of his arrival: the fact that U.S. museums now own 18 of his colorful semi-abstract paintings of the Maine coast, seven of them purchased in the last year alone...
...Kienbusch's artistic urgings began early. "When I was a kid and blew out the candles on the birthday cake." he recalls, "I always made the same wish-to be an artist." Achieving that wish turned out to be a long haul that took him to the Art Students' League, abroad for a year's painting in Paris, and home again to work with Muralist Anton Refregier and Abstractionist Stuart Davis. Then a summer on Deer Island, off the Maine coast, gave Kienbusch his clue to what he liked to paint best: "The world of many things...
Essentially a landscape painter, Kienbusch finds that reworking nature and translating it into his own terms is the only way to get at its inner meaning and intensity. Says he: "I betray nature if I copy." In the Houston Museum of Fine Arts' Across Penobscot Bay (opposite) he shows "what it feels like on a beautiful day to look from an island across the bay. What interested me was that the space of the trees in the foreground seems to embrace the space of the bay." The starting point for The Weir and the Island, now owned by Manhattan...