Word: modernistically
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...legends of modern art-its El Dorado, both in riches and inaccessibility-belongs to the U.S.S.R. It is the stupendous collection of early French modernist painting amassed on trips to Paris by two Russian millionaires: Sergei Schuhkin and his younger friend Ivan Morosov. After the revolution, Schuhkin fled to Paris, where, stripped of his capital and without his collection, he survived until 1937. Morosov died in 1921 in Carlsbad...
Composer Elliott Carter, a Burgess Meredith lookalike, also happens to have a strong sense of theater, more so in fact than most nonoperatic composers. Carter, 64, a master American modernist, likes to think of his orchestral and chamber-music scores as auditory scenarios that are designed to give each performer the freedom and individuality of an Olivier or, at the very least, a George C. Scott...
...writer is not some reactionary fogy whose predictions have finally come true, the way a stopped clock is right twice a day. She is a leading modernist critic, Barbara Rose, and her strictures would not have been made in the '60s, when American art seemed to inhabit an endless summer. Then New York believed in its manifest destiny; it had become the new Paris, or even Imperial Rome. The "mainstream" ran through New York. And it seemed by mid-decade that virtually everyone with something to invest was blundering about in its turbid flood like a shark, snapping...
Even more troubling, though is the realism inherent in post-Modernist literature; in this, I mean the tedious reproduction of lived life naturalism, as opposed to the rich tradition of European Realism, which exaggerated human experience, celebrated a wide historical consciousness, and reconciled real conditions with desire. No reader, to whom what is actual is anathema, would quarrel with Osip Mandelstam's axiom that "The only thing that is real is the work itself;" when he concludes, though, that the artist "desires no other paradise than existence," Mandelstam reveals the divergence between readers and artists. Existence, which to the writer...
...there were few jobs to be had in Depression-worn Berlin, so Breuer moved on to Zurich and then to England. There, he joined a pioneer modernist, London Architect F.R.S. Yorke, and designed in 1936 a small completely innovative pavilion at an exhibition in Bristol. Its taut glass juxtaposed with romantically rough walls of stone, it enclosed a beautifully proportioned space, and architects everywhere began to talk about Breuer. Even more striking was a project for the "Civic Center of the Future" that contained a lively assortment of innovative building shapes-Y-shaped, stepped-back and cantilevered structures, slabs, buildings...