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The show selects five as master form givers-the late Frank Lloyd Wright, Walter Gropius, Mies van der Rohe, Le Corbusier, and Alvar Aalto. Of the second generation, eight are singled out as leaders: Architects Marcel Breuer, Wallace K. Harrison, Philip C. Johnson, Richard J. Neutra, Eero Saarinen, Edward D...

Author: /time Magazine | Title: Art: The New Architecture | 4/27/1959 | See Source »

Too Much Glass. As building after building in the exhibition shows, the major debt of the U.S.'s younger architects is owed to Chicago's German-born Ludwig Mies van der Rohe. His bronze-sheathed Seagram Building, shown glowing against Manhattan's skyline, is a masterful exposition...

Author: /time Magazine | Title: Art: The New Architecture | 4/27/1959 | See Source »

The reaction is recent, caused in part by the miles of glass facades that have resulted from Mies's approach in the hands of less talented practitioners. Says Architect Philip Johnson, a onetime Mies collaborator: "Mies is such a genius. But I grow old and bored." Eero Saarinen quietly...

Author: /time Magazine | Title: Art: The New Architecture | 4/27/1959 | See Source »

Tombstones & Coffins. Wright vociferously maintained his claim to originating modern architecture. But when it came back to him from Europe in the forceful form of works by Walter Gropius, Mies van der Rohe and Le Corbusier, he belabored these men as "glassic architects" and worse. He dramatically ranged himself against...

Author: /time Magazine | Title: Art: Native Genius | 4/20/1959 | See Source »

An early luminary of Walter Gropius' Bauhaus in Germany, which developed such formgivers as Mies van der Rohe, Marcel Breuer, Paul Klee, Wassily Kandinsky and Moholy-Nagy, Albers came to the U.S. when Hitler closed the Bauhaus, taught at Black Mountain College and later headed Yale's Department...

Author: /time Magazine | Title: Art: Prints Without Ink | 2/16/1959 | See Source »

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