Word: rothkos
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...onward -cubism, futurism, constructivism, surrealism, in fact nearly every successive European movement found its provincial resonance among New York artists. But then, in the early 1950s, the stream slackened and reversed its course. New York was the center, Paris the province. It was now the turn of the Americans-Rothko and de Kooning, Johns and Rauschenberg, the Pop artists in the '60s-to alarm and stimulate the French. Thus the puritan Yankee paying his awkward homages to Matisse's sensuality was replaced, in the commedia dell'arte, by the French Pop artist in his new-faded denims...
...York art world, the decade 1955-64 has an almost magical air: a bath of transformations. Rauschenberg entered it as a frog and emerged a certified prince holding the first prize of the 1964 Venice Biennale. By 1955 the achievement of the abstract expressionists?Pollock, Gorky, de Kooning, Still, Rothko, Kline, Motherwell?was recognized across the Atlantic, and the aesthetic colonization of Europe by New York art began in earnest. In this momentous shift of taste, energy and locus, a younger generation of American artists would be the legatees. Its symbolic twins, its Castor and Pollux, were Robert Rauschenberg...
...America 1800-1950"-opened last week at New York's Museum of Modern Art. Organized by MOMA's painting curator Kynaston McShine, it sets out to expose a hidden thread in American art, the umbilical cord that connects such abstract expressionists as Jackson Pollock and Mark Rothko with the landscapists of the 19th century, like Albert Bierstadt and Edwin Church...
...stuff, but American transcendentalism was persistent and-so the exhibition argues-it survived the impact of modernism. The authority of the landscape remained, as did the artists' meditations on primitive nature and the origins of consciousness. Reams of exegesis have been devoted to the numinous imagery of Mark Rothko's paintings, with their feathery bars and rectangles of hovering light. The vital text, however, was unwittingly furnished by a popular American preacher in the 1920s, when asked to describe his vision of God. "I see him," said the evangelist, "as a sort of oblong blur...
...illustrates Still's cubist affinities then-a painting like PH-591, which dates from 1936-37, with its sinuous line meandering among black planes, is like a Braque made with an ax-but it also shows the common root of interest in biomorphic and mythical imagery shared by Rothko, Newman and other abstract expressionists, out of which would grow Still's passion for the sublime...