Word: modernistically
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DIED. Sonia Delaunay, 94, pioneering modernist painter and seminal designer of the art deco look; in Paris. Ukrainian-born Sonia Terk moved to Paris in 1905 and made a splash as an innovative colorist. In 1910 she married Cubist Robert Delaunay, whose work and thought came to overshadow and fuse with her own. While her painting made its mark only after his death in 1941, she established herself in the '20s by applying abstract principles of color and geometry in designing books, ceramics, costumes for Serge Diaghilev and fabrics for Coco Chanel...
...surface, emphatic in their brush-work-none of the characteristic cubist tonal flicker-and engulfing in their sheer size. If cubism was the art of hypothesis, Still would contradict it with an art of crushing visual fact. In doing so he hoped to make a clean leap out of modernist history into images "not proven by a continuum," as he wrote to a friend in 1950: "I am myself-not just the sum of my ancestors, and I know myself best by my gestures, meanings...not through a study of my family tree." To a great extent he succeeded. Virtually...
Resurrecting the man and his oeuvre through the thin and scattered relics he left, could not have been an easy job. But it has resulted in a fascinating exhibition, 'Patrick Henry Bruce: American Modernist," now finishing its run at New York's Museum of Modern Art and due to open at the Virginia Museum of Fine Arts in Richmond on Nov. 27. It is the fruit of several years' research by Art Historians William Agee, director of the Houston Museum of Fine Arts, and Barbara Rose. As an American painter, Agee claims in his excellent catalogue, Bruce...
Currently I find myself involved in a longish epistolary novel, of which I know so far only that it will be regressively traditionalist in manner; it will not be obscure, difficult, or dense in the Modernist fashion...
...also disliked the canonical painters of the American sublime, Bierstadt and Moran. "Indians and bears walking out to the edge of cliffs!" he snorts. "They'd paint the Half Dome as though it were chewing gum. No essence, no spirit?just scene painting." Adams' problem was to find a modernist vision in photography, one that corresponded to the postimpressionist avantgarde, whose works he had glimpsed at the San Francisco Panama Pacific International Exposition in 1915. In 1930 he saw that vision in the work of a photographer twelve years his senior, Paul Strand...