Word: semi-abstraction
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Died. Rico Lebrun, 63, Italian-born West Coast painter and sculptor, a wistful, wiry Neapolitan whose lifelong preoccupation with the grotesque and the macabre led critics to think of him as a 20th century Goya, produced a savage, semi-abstract body of work illustrating grim themes classic and modern, from Dante's Inferno and the Crucifixion to Dachau and Buchenwald; of cancer; in Los Angeles...
...LICHTENSTEIN, 38, of Highland Park, N.J., started his fine-arts career painting semi-abstract versions of Remington's cowboys and Indians, and later began to conceal comic-strip cartoon characters inside abstract-expressionist paintings. "This led me to wonder what it would be like if I made a cartoon that looked like a cartoon." In addition to cartoons-on-canvas, he began painting household objects-trash cans, washing machines, light cords-in the same flat technique. "I try to use what is a cliche -a powerful cliché-and put it into organized form," he says. By presenting common...
...true artistic climate is not necessarily reflected by such an arbitrary 50-50 division. But a more serious objection arises from the fact that it is not always possible to relegate a painting to one or the other of the two categories. The work of many artists is semi-abstract or semi-representational; some of the best entries this year were just such items, like W. T. Cummings' "Beach" and Robert Harnilton's "Crucifixion." The war betwen traditionalists and modernists is useless; the only valid war is between the good and the bad, both of which can be achieved...
...owner. In the entry Hugo Robus' green bronze Song seemed about to chirp a childish "May I take your coat?" At one side of the powder room stood Nadelman's painted bronze Woman, attentive as a lady-in-waiting. At the other side arched Robus' rainbowlike, semi-abstract Woman Washing Her Hair. The washroom offered a brace of sporting dogs by Hunt Diederich, and in its paneled lounge stood Epstein's mournful, supplicating Hannah...
...artists are doing at the moment, and artists are notoriously a bit ahead of the public. Last week's Carnegie, with 367 paintings and 127 sculptures, irritated even more than usual-the show proved to be almost wholly devoted to abstract expressionism from 31 countries. Abstractions swept nine out of ten prizes (the tenth was a semi-abstract Henry Moore) and, as the New York Times's Critic Howard Devree dourly noted, every prize "may be called in question." Due for especially earnest questioning was the $3,000 top winner in painting: Antoni Tapies' mysteriously simple grey...