Word: painterly
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Dates: during 1960-1969
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...PAINTER by Duard G. Slattery, illustrated by Sanford McGrail (Lion; $4.50). Taken directly from the 1960 Academy Award-winning short, the book depicts an abstract artist who throws paint on a large canvas, then slices it up for sale. As much fun as the movie...
...confidant of Fidel Castro and the author of a new handbook on guerrilla warfare (Revolution in the Revolution?), Debray was captured last April as he walked out of an abandoned guerrilla camp in the Andean foothills. With him were Argentine Painter Giro Roberto Bustos, who stood trial with Debray, and British Free lance Photographer George Roth, who was later released. At first, Debray claimed that he was a journalist on assignment for a Mexican magazine and backed up his claim by describing how he had interviewed Che Guevara in the bush. That gave the Bolivian government its first real evidence...
...movements gets more frenetic all the time. However, new movements tend to overshadow artists doing good work in older styles, and that's why it is important to maintain a catholic point of view. It isn't the movement that counts as much as the individual painter...
Locking Form and Content. "Whatever interest I have in people," says Stella, "I have in daily contact with them. I don't want them walking around in my paintings." The son of a Massachusetts doctor, Stella studied at Andover's Phillips Academy under Abstractionist Painter Patrick Morgan, was drawing geometric blocks of color while other students were still sketching nudes and horses. Upon graduation from Princeton in 1958 with an A.B. in history, he moved to Manhattan...
Stella's work attracted attention almost immediately because it took abstraction one measurable step farther along the path toward pure form. The generation of Pollock and Kline had eliminated the figure; their canvases derived impact and emotion from the visible signs of struggle left by the painter's drips, splashes and violent brush marks. The "color field" painters of the 1950s, led by the late Morris Louis, eliminated the mark of the painter's hand, but their veils of color floating within the rectangle of a canvas aimed at evoking a haunting, lyric sense of other-worldly...