Word: mondrian
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...wonderfully weighty picture of the massive foundations of the Williamsburg Bridge with little red Surprise Laundry wagons lined up at the curb ready to make deliveries. In the '30s George Grosz did a series of watercolors: a childlike view of the harbor and a lurid skyline. Piet Mondrian, who spent the last four years of his life in Manhattan, found the city a perfect model for his grids; later Chryssa sculpted Times Square, appropriately, in fluorescent tubing...
...more inaccessible, stashed in private collections. Art Historian Colin Eisler combed the museums and collections of the world before allowing more than 300 illustrations to go public. He includes some of the finest examples of draftsmanship, from the French, German and Italian Renaissance to such moderns as Klee, Mondrian and de Kooning. Nearly half of the drawings are meticulously reproduced in their original tints...
FRANTISEK KUPKA, along with his better-known contemporaries, Kandinsky and Mondrian, pioneered abstract painting. To look back at his prolific work is to trace the history of twentieth century aesthetics, and the development of an art that tries to embody concepts--non-objective art. Born in 1871 in Czechoslovakia, Kupka came to Paris, the center of artistic activity in 1896, and soon settled down in the suburb of Puteaux, where he lived the rest of his life...
...follow that painting in sequence down the ramp of the Guggenheim museum, blend almost imperceptibly into studies for "Amorpha: Fugue in Two Colors." This painting is too large to be hung where it should chronologically be placed; one has to descend in suspense through Kupka's "pseudo-Expressionist," "pseudo-Mondrian" and "art deco" periods before finding it, at the bottom. "Fugue," painted in 1912, is indeed greater than anything else Kupka ever did. It represents a culmination of his nonprofessional interests--astronomy, music, and mysticism--as well as his artistic abilities: his skill with color, the grace of his line...
...Kupka exhibit starts at the top of the Guggenheim and spirals down through time, following the turns of "modern art." Kupka imitates or reflects dominant influences of his time: Matisse, Delaunay, Gross, Mondrian, Kay Nelson. But in looking at the works as a retrospective of the major aesthetic revolutions of our time, Kupka's theoretical contribution to those revolutions should not be ignored. Nor should his artistic (well, not genius, but) talent: his sensuous lyricism, keen sensitivity, and his occasional inspiration. Kupka is a mirror worth looking...