Word: rothkos
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...impact of the festival and the museum has been widespread. Last week, for the first time in its 89-year history, Provincetown's weekly Advocate went to 16 pages. More artists have taken up residence; Milton Avery, John Hultberg, Mark Rothko have made Provincetown their summer home. New galleries are selling paintings faster than in Manhattan. More than just good business, 1958 has brought sparkling new life to the old culture of Provincetown...
...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 that Spain has seen...
...doing in enigmas that would win kudos from a Zen master. Painter Franz Kline, asked what he was trying to express, replied: "When I was young, I was 19. Does that answer your question?" With few exceptions, critics do little better. Art News once described one of Mark Rothko's works as "haunted, like the shining skin of an opulent eggplant, by the clay-colored echo of a final and unbreakable promise." The point, as Louis Armstrong once said of jazz, seems to be: "When you got to ask what it is, you'll never get to know...
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...
...Diego's own on-the-spot enthusiasm for filling vast wall surfaces with frescoes. Symbolic of what she calls "the incredible years of 1947 to 1949, when this wave of something new swept over us," was the big Clyfford Still abstraction by the man who, along with Mark Rothko, sparked San Francisco's abstract art revival ("And don't think I wasn't baffled by them at first," she admits). Henry Moore's carved-wood Reclining Woman stood as symbol of her unceasing effort to bring the best of modern art to San Francisco, thus...