Word: painter
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Dates: during 1950-1959
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...Marsden Hartley (1877-1943) liked to call himself "the painter from Maine." But he traveled considerably in Europe, appraised its art with a shrewd Yankee eye. Hartley was the first American to grasp the power of German expressionism, immediately adapted the experiments of Wassily Kandinsky and Franz Marc to his own ends. His German Officer (opposite) is as tumultuous as anything painted before World War II, though not so bold as today's abstract expressionism...
...German painters denounced as "degenerate" by Hitler, there were only two choices if they were to continue as artists: get out of Germany or go underground. Painters Paul Klee, George Grosz, Josef Albers and Architect Walter Gropius managed to escape; one of the few who chose to remain and survived is Fritz Winter, today rated as Germany's leading abstract-expressionist. To celebrate Winter's 50th birthday, Munich's Günther Franke Gallery is staging a showing of 46 of his paintings, ranging from 1929 to the present. The Munich retrospective, and a current exhibition...
Back in Bavaria, Winter's brush exploded with fireworks of color, recalling in whiplash lines the wartime echoes of barbed wire, bombed buildings, prison life. But Winter was not merely evoking the kind of turgid nightmare images that Painter George Grosz (TIME, Nov. 21) used to purge himself of his tortured World War I memories. In his abstractions, Winter feels that he is groping toward a universal language increasingly understood everywhere...
...painting the water lilies in the pond beside his house in a last great effort to capture "something impossible in rippling waters with tall grass undulating in the sun." Looking at Monet's masterful brushwork, his lyrical blending of earth, water and sky into a single composition, French Painter Andre Masson called the completed set of canvases "The Sistine Chapel of impressionism." It is one of this superb series that now hangs in Manhattan's Museum of Modern...
...Monet's enthusiastic visitors during his final years was a painter a generation younger, Pierre Bonnard, who had a house across the Seine from Giverny. His Dining Room in the Country (opposite) is one of the best examples of what impressionism became under Bonnard's brush. In it, the transition from the blue tablecloth set in the cool interior of what is probably Bonnard's summer house, past the door and window, framing a dark-haired woman, to the shimmering outdoor vibrations, becomes a melodic, orchestrated movement from calm interior repose to the joyous peacefulness...