Word: mondrian
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Granted, they resemble slick magazine graphics or modern interior design. But is that necessarily a fault? It is not so much that Lichtenstein is so bad that he resembles commercial art, but that commercial art is good because it has learned the practical lessons of Mondrian, Picasso and modern art. Because of their plentifulness and familiarity we take for granted and deprecate the superb graphics of magazines like Playboy, Esquire, and National Lampoon. But how many boring dull articles have we been snared into by eye-catching graphics? And in a hundred years, how many architecture students will be studying...
...irritating instability of focus; parallel stripes whose wavy motion produced something akin to seasickness. Ever since her art-student days in London, Riley had been fascinated with patterns based on repeated units: the dots in Seurat's paintings, the balance of delicate strains between Mondrian's squares...
...Hayden Gallery exhibition of drawings by Gorky, de Kooning, Pollock, Line, and Guston is a pleasant exception to the rule. These five painters have been labeled Abstract Impressionists because they broke with the traditions of Cubism and Mondrian aesthetics by eliminating concrete forms and images from their work. Pollock, for example, is best known for paintings made by squirting paint out of tubes directly onto a canvas on the floor. For him, the act of releasing paint itself constitutes a valid artistic statement...
This simple addition does indeed sound elementary. But what the description leaves out is Bill's acute sense of color relationships and the cool, meticulous perfection of the skin of paint-a skin that makes the epidermis of Mondrian's geometrical abstracts seem coarse by comparison. In his exquisite judgment of value and hue, Max Bill is one of the great colorists in modern...
...early '50s, some of his paintings were moving away from the strict line-and-rectangle grid. Black-White Duet with Red, 1953 (see cut), loosens the bond. Instead of Mondrian's delicately balanced, off-center compositions, a kind of symmetry prevails: the skewed, hefty profiles of black and white fit together like a Yin-Yang symbol as revised by a locksmith. "I liked what Mondrian had discovered - the interchangeability of form and space," Smith recalls. "But I wanted to apply that to free form...