Word: paint
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Dates: during 1950-1959
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Imaginative Artist Ben Shahn, with judicious frugality of line, has portrayed Alec Guinness' anonymity as a man while presenting the mirror image of the actor who lives through the looking glass in his make-believe world of grease paint and spirit...
Last year Schleppey tried to retire to his 150-acre farm, but the composing-room wars in Massachusetts brought him back on the job. This summer Schleppey will have a cataract removed from his left eye, afterwards wants to do nothing but paint pictures and write a book on modern art. But for the time being, Strikebreaker Schleppey is still up for hire. Says he: "I'll never let these publishers down as long as I'm active...
...moment that most actors would give their profiles to experience, a scene that almost any imaginable entertainer would play to the echo. Alec showed up 25 minutes late. The hotel doorman was somewhat upset at the sight of the filthy old tramp with the messy whiskers, paint-smeared jacket, soiled green flannel shirt and cracked shoes, but Guinness was able to establish his identity and the fact that he had just stepped out of a scene in his new picture, a version of Joyce Gary's novel, called Straight from the Horse's Mouth...
Artists' reaction to the Baur thesis reached from surprised agreement to eloquent indignation. William Kienbusch (TIME, June 4, 1956), who sometimes uses photographs in painting nature-titled abstractions, readily admits that nature has long been an at-the-elbow companion. Says John Helicker, another abstractionist: "The best paintings I have ever done relate to the deepest feelings I have had about a place." But old-line Abstract Expressionist Adolph Gottlieb grimly dissents: "I never use nature as a starting point, I never abstract from nature, I never consciously think of nature when I paint. In the painting...
Such celebration of painting materials for their own sake (much as if a composer were to write a concerto about, not for a violin) seems on its way out. Strongest trend Baur spotted was "a general but oblique redirection of abstract expressionism toward nature for its own sake." Painter Kyle Morris put it simply: "This kind of painting does not start with nature and arrive at paint, but on the contrary, starts with paint and arrives at nature...