Word: koerner
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...Henry Koerner's meticulous realism strikes a lot of moderns as just a throwback to 19th Century genre painting. But since art moves in cycles, it may really represent an advance. Koerner obviously thinks so; the only question he asks himself is how to consolidate his advance...
Though he paints people and things he sees, Koerner assembles them to suit himself on carefully planned canvases. No one could fail to appreciate the competence of Koerner's last exhibition (TIME, March 27), but many complained of its tightness and dryness along with its general atmosphere of gloomy obscurity. His new paintings, on view in a Manhattan gallery last week, suffer less noticeably from such faults...
...This year," Koerner says, "I dragged my canvases everywhere to do everything on the spot. It's amazing how easily you forget reality, and how much richer reality is. Instead of painting just people I made them real portraits, I tried very hard for likenesses. Do you think Springtime for Henry looks like...
...Koerner to Motherwell, a concert of Hindemith music with Composer Paul Hindemith conducting, plus lectures, documentary films, original plays and a lot more concerts...
Warm Ashes. If the abstractionists were mostly dry, the more traditional painters were soggy. Even the much-admired ones often succeeded by mere competence. Henry Koerner's blend of banality and obscurity, Fire on the Beach, was an ashen canvas warmed by brilliant drawing alone. John Koch's The Monument was curious in content and cottony in color, but it had a complexity and depth of composition that few moderns could bring off. Isabel Bishop's Nude Bending (one of the show's few nudes) was so dimly painted it looked like a fading wraith...