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...people. There are also mystic lozenges, snaky lines and blobs which apparently are respectively symbols for mountain, rain and root. For briskness of conception, facility of line, the Mtoko paintings struck critics as being plastics of considerable honest merit in themselves. A small show of advanced abstractionists like Klee, Miro, Arp and Masson was added to the exhibit by Director Barr to show that some living painters are not very distant in spirit from the Mtoko masters...

Author: /time Magazine | Title: Art: Dawn Pictures | 5/10/1937 | See Source »

Bewitched in the Zoo (Paul Klee...

Author: /time Magazine | Title: Art: Marvelous & Fantastic | 12/14/1936 | See Source »

...Odalisque", a young girl reclining on a coach looks more like Steig's stuff, but no, it's another of Borges. Utrillo's contribution had best be called "four big hips going to grub" than "Auberge". And, gentle readers, if you see the "Magnetic Cultivation of Planets," in Paul Klee's little brain child then please come to the Vagabond's Tower. Rare souls are always welcome...

Author: NO WRITER ATTRIBUTED | Title: The Vagabond | 11/20/1935 | See Source »

...even if mute, testimony in an age of rampant modernism. In his well-written, though necessarily hurried, and even breathless, survey, Mr. Wickham pauses to inveigh against those modernist critics, who deprecate the masters of yore in order to extol "now a van Gogh, now a Picasso, now a Klee, now a Braque, now a Wadsworth, or now the art of the primitive Negroes or the Seljuka." That kind of criticism is indeed indefensible; one hopes, however, that Mr. Wickham, in his ardor to defend classicism against the enemy, is not leaning over backwards, for all the modernist idols--except...

Author: By W. E. H., | Title: The Crimson Bookshelf | 3/19/1935 | See Source »

Very different in character are the works of Kandinsky and Klee. The former seeks a refuge from modern life through a play of abstract form and colour. Squares, triangles and circles carefully arranged make balanced colour compositions that gladden the eye but never attack the intellect or the emotions. Klee's refuge is in dreams. Like the surrealists, he portrays vague images conjured up from the subconscious and paints them with a tongue-in-the-cheek seriousness that has been completely misunderstood by his lugubrious colleagues in Paris. Nolde, like the sculptor Lehmbruck, is German in his intensity and paints...

Author: NO WRITER ATTRIBUTED | Title: Collections and Critiques | 11/16/1934 | See Source »

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