Word: nadelman
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Dates: during 1990-1999
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...could anyone keep it up?), but it has a slightly weird consequence for this show. The older works--the ones from the teens, '20s and '30s--look fresher than the younger ones. We are used to seeing endless reproductions of de Kooning, Pollock, Rothko--but not of Elie Nadelman, Arthur Dove or Joseph Stella. Because of this contrast, the top two floors of the show--it starts at the top and, taking advantage of gravity, goes downward--seem more interesting than the third. That's not the art's fault, but it goes a long way toward fixing the imbalance...
...begins to describe Florine Stettheimer's work. It is besotted with style as an end in itself, and its delight in quotation naturally endears it to postmodernist taste. Sometimes it's tea-party Ensor, without the bilious satire; sometimes it's Rus sian ballet. There are traces of Elie Nadelman, Odilon Redon, Watteau, Hieronymus Bosch and an over-the-top capriccio of swimmers in some celestial spa titled Natatorium Undine, 1927. Her painting of a spring sale at Henri Bendel's, with ladies squabbling over the merchandise like angry hummingbirds, resembles a Pompeian grotesque translated into the 1920s. She liked...
...reacted to these crude and, in most eyes, culturally negligible designs in the way an earlier American stylist, Elie Nadelman, had responded to anonymous folk art. He found beauty and a sort of wry pathos in them, along with a disregarded but distinct sense of style. Lichtenstein wasn't the first artist to react to American comic strips. Miro is plausibly said to have been influenced by George Herriman's now classic Krazy Kat. Apart from Stuart Davis, however, he was the first American artist to do so, because American artists had always been rather ashamed of their own vernacular...