Word: mondrian
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...Loren Maclver's softly luminous The Street (see next spread), which carried off first honors, was called by one juror "very, very sensitive and charming, with more feeling than almost any other picture there." Fritz Glarner's Relational Painting Number 79, second-prize choice, demonstrated that a Mondrian disciple can stress the master's geometry out of plumb and still retain its purity. An even more austere geometric form, Josef Albers' Homage to the Square-"Yes" won third prize. Robert Gwathmey's The Clearing, a study in posterlike realism, looked downright old-fashioned by comparison...
Shahn's philosophy, if a painter need have one, emerge roughly from a collection of bright things Rodman has gathered from the artist's lips. For example on Mondrian, Shahn is quoted as saying "Mondrian spent a lifetime sharpening his chisel and then never used it." Or another comment along the same line, "design is only one of five or six things a picture must have to be good...
Turning the Mirror. The young pioneers reproduced on the following pages took their lead from such European moderns as Kandinsky, Picasso and Paul Klee, and from a slightly less exalted group-Fernand Léger, Jacques Lipschitz, Piet Mondrian, André Masson-who sat out World War II in New York. All brought essentially the same promise: instead of holding a mirror up to nature, art could mirror the inner world of the artist himself. The methods for doing this-abstraction and distortion-were as old as doddering modern art itself (i.e., almost a century), and had already been explored...
...studio window in which the qualities of design begin to take command. Most of Jennerjahn's other paintings consider the canvas as a plane and the paint applied to it also a flat surface. The overriding concern is the relation of colors and lines in the plane. Like Mondrian, Jennerjahn aims at purity through the reduction of means. The curved line, spatial illusions, tricks of the brush are all given up. Design rather than texture is the keynote...
...turned out by Britain's Reginald Butler, who "has no conception of form." He then invited his entourage of sculptors to debate or just plain chat with him. When all kept respectfully silent, Epstein happily began tossing his horns. One of his gratuitous victims: famed Dutch Abstractionist Piet Mondrian, whose linoleum-like linearities have floored museum walls for two decades. Said Sir Jacob flatly: "A faker!" A museum director murmured a shocked "Oh, no!" Epstein snapped: "An open mind is an empty mind." At last, carrying a bronze medal struck in his honor, Honorary Guildsman Epstein departed, telling...