Word: oskar
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Just as the architects' and designers' pioneering zeal seemed to give out, the enfants terribles Egon Schiele and Oskar Kokoschka (see following story) had their first shows of paintings in Vienna. Their intense, expressionist works did not flirt, like Klimt's gilded sultanic pictures, with bourgeois prettiness and what the catalog calls "proto-psychedelic sweetness." Schiele, who died young (in 1918, along with Moser, Wagner and Klimt), has been the subject of more passionate popularity than Kokoschka over the years: his images were the more earnestly pained and ugly. As Varnadoe writes, Viennese arts had lost their capacity for compromise...
...sense of culture they try to construct withers in the red glare of National Socialism. After 1933 their story becomes a lugubrious tale of giants in exile (Oskar Kokoschka, Kurt Schwitters, Max Beckmann), of ruined hope, lopped lives and rampant state philistinism. By 1945 there is no life left in the expressionist impulse, at least in Germany; it can only be reborn in America as abstraction, and then re-exported to exhausted Europe. By 1955 figurative expressionism is a dodo--shot by Hitler, eaten by art history, its bones a museum specimen. Thus spake, until lately, the scenario...
Personality seemed more important than party last week in two West German state elections, both of which produced surprises. In the Saarland, the country's smallest and poorest state, Oskar Lafontaine, 41, a shrewd and charismatic leftist, led the Social Democratic Party (SPD) to an absolute majority in a state assembly that had been dominated by conservatives for three decades. By contrast, in West Berlin, long a stronghold of the SPD, the ^ winner was a conservative, Christian Democratic Mayor Eberhard Diepgen, 43. Two elements common to both votes were the resurgence of the center-right Free Democrats, thought...
...hard-nosed cop will be answered by a raucous drag queen; the surreal anguish of Dan White (incarnated with creepy brilliance by John Spencer) will be followed by some wildly comic testimony that might have come from Carol Burnett's blooper barrel. Execution of Justice, directed by Oskar Eustis and Anthony Taccone, is a major work that seems to stand outside the perimeters of most Humana Festival plays. Yet its concerns are the same: to examine, with care and craft, the rending dynamics of American society. In life and art, these plays argue, get back to essentials...
...sense of drawing was so ingrained that she could cover a huge surface with notations that never palled: shifting tempo, direction, fatness of marks; she could (literally) paint up a storm. Works like Cobalt Night, 1962, or Charred Landscape, 1960, raise echoes of romantic "spectaculars," from Tintoretto to Oskar Kokoschka. They take a field of subject matter that Pollock was generally thought to have sealed off as his own-atmospheric space, roiled with stress and strain-and return it from the impromptu drip (which no one after Pollock could manage anyway) to the more deliberate action of the brush. When...