Word: kokoschka
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...opened, Walter Gropius was a young German architect recovering from dual traumas--World War I and his turbulent first marriage to the formidable Alma Mahler. One of history's supreme narcissists, she betrayed her first husband, composer Gustav Mahler, by having affairs with both Gropius and painter Oskar Kokoschka. After Gustav's death, it was Gropius she wed, only to leap a few years later into the arms of writer Franz Werfel. (Watch TIME's video "The Haus of Modern Design...
Egon Schiele’s “Sleeping Figure with a Blanket,” with its watercolor browns and dreamsicle oranges, employs less inviting colors than the Kokoschka lithographs but is no less visually-stimulating. As is the case with several of the Klimt sketches, Schiele intentionally waffles on the orientation of the work, in part by signing the piece twice, once to indicate that the piece is meant to be viewed as a portrait and again, indicating a landscape...
...same, he appears less strange to us than he did to the 19th century that rediscovered him. Manet, who admired his portraits, still pronounced him "bizarre" overall. But now, after the fractured space of Cezanne, the shivering stridencies of Klimt and Kokoschka, the old Greek is not as much of a challenge anymore. There are even trace elements of his tussling space in the tangled drippings of Jackson Pollock. What El Greco remains is a jolt to the senses. In the superabundance of his strange devices, there are still things that shock. In the El Greco show that opens this...
...most striking development in Ablow's recent work is in its unorthodox, ethereal color. While his previous works were mostly painted in shades of chalky beige and rose with a careful accumulation of paint layers, (a derivative of the direct color technique he learned from Oskar Kokoschka), these paintings glow with blues worthy of Picasso’s Blue Period and warm coppers worthy of Georgia O’Keefe’s canyons. In works like “The Mantle” and “Tuscan Shadows” Ablow’s objects are suffused with...
...associated with the man who left [St. Louis] and became the director of the MFA. He brought that particular interest with him to the Boston area, and it coincided with interests at the School of the Museum of Fine Arts. People like Max Beckmann had shows then, and Kokoschka. So at the Museum School in the late '40s and 1950s there was a strong identification of Boston with that expressionist tradition. But I think after this, as you get into the '60s and certainly the '70s, Boston is as pluralistic as any other place, nor is it as identifiable with...