Word: rouaults
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...point continually arises that Kollwitz is, after all, an "Expressionist," a wielder of emotions who prefers impulsive, intuitive reactions to intellectualized or classic ones. No answer speaks more eloquently than the suffering "expressionist" figures of Rouault, whose silent anguish mirrors not only torment and martyrdom but that essential dignity of art defined by Malraux as "the voice of silence." The difference, again, is aesthetic, not literary. Kollwitz cries out against war; Rouault affirms the artistry war destroys. One is advocacy and the other...
...that'age." When he was only 21, he submitted Manege de Cochons (a twirling semi-abstract with pigs racing about and black-stockinged legs and top-hatted figures joining in the carrousel of life) to the 1906 Salon d'Automne. It so enraged Painter Georges Rouault, a member of the jury, that he threw it to the floor and trampled it to shreds. After that, Delaunay moved into his fruitful "destructive" period...
...which began as a $10-a-week saxophonist on New York's borsch circuit, has made him a millionaire. It has brought him a $100,000 Long Island home with swimming pool and three servants; a duplex Manhattan penthouse office suite that boasts a rehearsal hall and a Rouault; seven years of psychoanalysis, and such possessions as 50 broad-shouldered suits, a $4,000 diamond-and-star-sapphire ring and a solid gold lighter for his long, fat cigars. The last time he was on somebody else's payroll (in 1954 when he split with Imogene Coca...
...same time, Rouault's turbulent mysticism never looked better. Three Clowns, almost an ikon in spiritual dignity as well as in symbolic analogy, imparts to its rich, warm tones an austerity as breathtaking as its intense emotion. And Autumn, more soul than landscape, reveals perhaps even more the spirit of an old master than a modern...
This provides formidable competition. Next to Rouault, Max Beckmann's strength, coherent though it is in both still life and portrait, becomes an inflexible and dry stiffness. Bradley Walker Tomlin's vivid pattern of color dabs appears insubstantial and weak. Even Miro's usual verve and wit fail to bring his Lasso to satisfying completeness. Yet, such free-swinging abstractions as Toti Scialoja's or Richard Diebenkorn's, have far less to say. Their absence of representational basis is perfectly acceptable but their lack of aesthetic articulation...