Word: pollock
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...expressionist movement. "We thought of this theme," said Ossorio, whose Reconciler is one of the exhibit's highlights, "because we knew that among our group many were trying to put on canvas the very essence of human experiencing. That is what we mean when we say [as Pollock used to] 'to get into the painting.' There is nothing detached or eccentric about our work. It is a total commitment, and once expressed on canvas, it represents the most vivid and dramatic expression of the human image possible-ourselves...
...minority, primarily younger artists and critics. Their welcome was ecstatic. "This exhibition was necessary," exclaimed Madrid Artist Manolo Millares, 32. "We've been wanting it for years." The 200-odd aficionados who milled around the huge canvases at the opening rapidly began sorting out impressions. Jackson Pollock was the most important, they decided. Mark Rothko's shimmering panels of color were their favorites, followed by the works of Clyfford Still (TIME, Nov. 25), Franz Kline, Philip Guston. Sam Francis. The qualities most admired: "furious vitality," "unbiased liberty," "a renovating spirit." Cried Critic Eduardo Cirlot: "The most important show...
...leading U.S. abstract expressionists painted realistically before they turned to abstraction. Nine of them got through the 1930s painting government murals. "The most important thing for all of us was the WPA," says Willem de Kooning, recognized leader of the movement since the death of 44-year-old Jackson Pollock in an auto accident in 1956. The WPA was important in more than one way. It enabled the larval abstractionists to live by painting, established them as professionals and helped to produce the reaction that turned them to, abstraction in the 1940s...
...first of them all-the transitional figure-was Arshile Gorky, who early imitated Picasso, then the surrealists, finally broke through to a style of his own combining strange anatomical images and fragments of observed nature. Emerging early as the most noted was Pollock, hailed by some European painters and critics as the first great innovator in modern art since the birth of cubism-and hooted at by others. Wrote Critic John Russell in London's Sunday Times after seeing a Pollock painting in 1956: "I will not say that I was prejudiced against Mr. Pollock's picture...
From the splashes of Pollock and De Kooning to the finely executed color planes of Rothko. the movement has a wide range of identifiable styles. Each painter produces his own subjective expression without regard for what it communicates. The absence of any recognizable visual imagery has struck many critics and philosophers, like Theologian Paul Tillich, as a cult of meaninglessness, proof of "the emptiness of our existence in industrial society." Other critics have an entirely different perspective, see in the abstract-expressionist breakthrough the opening of a brave, new, unfettered world of art. Worcester Museum Director Daniel Catton Rich finds...