Word: lyonel
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Free man, you shall always love the sea," wrote Baudelaire. And it was the sea which animated the hand of Lyonel Feininger so long and so well; not the indomitable, raging waters of Baudelaire as much as the deep, impenetrable immensity of Melville's ocean world. More significantly, it was always Feininger's own sea, personal, highly lyrical, and richly controlled...
...emblematic pictorial symbols that crowded his canvases to the bursting point, but recovered much of Germany's lost humanism. The most intense group of artists was at the Bauhaus, where the new center of architecture, with its goal of "art and technology -a new synthesis," attracted U.S. Painter Lyonel Feininger, Josef Albers, Oskar Schlemmer and Klee. There Kandinsky combined abstract geometric forms with color in Composition VIII to arrive at a new and colder art that he hoped would have the quality of "burning power in an icy chalice." The closing of the Bauhaus in May 1933 signaled...
...struck Russians who at the turn of the century flocked to Munich to study painting, one of the best was Alexei Georgievich Jawlensky. In the 1920s he ranked with the more famous Russian Wassily Kandinsky, the late U.S.-born Lyonel Feininger and Swiss-born Paul Klee (TIME, Sept. 17) as a coequal in their "Blue Four" exhibits. Then he was all but forgotten...
...communicate indirectly to man; their meanings can often be sensed long before they are fully understood. After the war, in which he served as clerk and airplane painter in the Kaiser's army, Klee for ten years was a member of the experimental Bauhaus movement in company with Lyonel Feininger, Josef Albers and Kandinsky. But the Bauhaus' dedication to the discipline of the machine did not alter Klee. In a Bauhaus prospectus he wrote defiantly: "Construction is not totality . . . intuition still remains an important element...
...Lyonel Feininger (1871-1956), like most modern pioneers, matured slowly, did not find his own way as an artist until he was past 40. Although he spent more than half of his life in Germany, his painting owes little to German expressionism. Its technique is borrowed from Paris cubism; its architectonic spirit relates to Gothic churches and Bach fugues; its cool severity seems a personal reflection of modern engineering. Says U.C.L.A. Art Gallery Director Frederick Wight: Feininger "unlearned the last century's concept of [space as] a three-dimensional void. Instead, he gradually makes a clearing around the object...