Word: mondrian
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...course; but by a combination of stubbornness, string pulling, blind luck and the help of a tiny number of devotees and friends in the U.S., some did get through, settling for the most part in Manhattan and Los Angeles. Among them, from Paris, were Fernand Leger, Marc Chagall, Piet Mondrian, Jacques Lipchitz and the core group of Surrealists who went to New York City: Max Ernst, Andre Breton, Yves Tanguy, Andre Masson and Roberto Matta. From Germany, Kokoschka, Kurt Schwitters and the Dada collagist John Heartfield reached London, while Max Beckmann, Josef Albers and George Grosz made it to America...
...paying an astounding $900,000 an episode for the series, a large chunk of which is going to its star, clearly hopes for one also. And despite the show's weaknesses, Arsenio may pull it off. His fans seem to number many. Over dinner at Los Angeles' stylish Mondrian hotel last month, he was barraged by passersby expressing their enthusiasm about his return. "We can't wait for you, man," said one. Arsenio returned a beaming thank you. It is hard to imagine that after The Arsenio Hall Show ended he thought he was ready to forgo the limelight...
...practice, it wasn't tried in any systematic fashion until after 1910, when the three founding fathers of abstract painting--two Russians, Wassily Kandinsky and Kazimir Malevich, and a Dutchman, Piet Mondrian--came, more or less simultaneously, to believe that pure form, in opposing what they saw as the deadly materialism of European culture, could open the way to a world of pure spirit. Abstraction would become a language, the key to utopian states of mental and social harmony that had been only dimly implied in art before. Abstract art would be the music of the spheres for the 20th...
...interiors raise the obsessive cleanliness of Dutch domestic culture to the level of abstraction--no wonder his great Dutch successor, Mondrian, loved him, for that and other reasons. Vermeer's jonkers and juffers (dandies and damsels) are so neat, dressy and full of decorum that you can hardly compare them to the rowdier figures elsewhere in 17th century Dutch art, coming on with wineglasses and making gestures of sexual insinuation. Vermeer's are seldom marked by experience, and except for maids and servants, they all belong to the same stratum--a class, needless to say, rather above his. Does this...
...religious paintings and allegories aren't very moving or convincing; God is in the shimmering, glinting details of the house. In Young Woman with a Pitcher, circa 1658-60, the subject holds a gilt water pitcher while opening a casement window whose leaded pane looks just like a 1912 Mondrian apple tree turned on its side. Blue is everywhere: deep ultramarine in her skirt and sleeves, lighter blue in the cloth on the table, whose tone rhymes with the rolling bar of the map on the wall--a recession of precisely judged color echoes. It is also reflected...