Word: visualizer
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Dates: during 1950-1959
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More interesting than the foreign demands, however, are the ones from this country that Coolidge traces to developments in the American cultural outlook. He notes a marked increase in interest for the visual arts and music, accompanied by a similar trend away from literature. It is no secret to today's undergraduate that he does not read as much or as widely as his father's generation did, nor that improved recording techniques have mirrored more music appreciation...
...latter interest is perhaps easily seen, but that in the visual arts may come as a slight surprise. Coolidge has two ideas about the situation. One is that art can appeal to people with little leisure because it has a faster impact than literature. The other is that the visual capacities of immigrants--the Greeks, the French, the Italians--are finally having an effect on our culture. This is because most Anglo-Saxons are less visual by nature than their contemporaries of European stock. The result in American terms, Coolidge says, is that "the average individual is far more cultured...
...manifestation of the visual arts appreciation has been the response to Fogg's exhibitions. One on French drawing attracted nearly 20,000 people in two weeks, and another on Ancient Art drew some 3,000 on the last Sunday of the exhibition. The Museum is therefore producing major shows like the recent Reubens exhibit, in which all but one or two of the Reubens drawings and oil sketches in the country were shown, with some degree of regularity, usually one a year...
...even in this age of specialization. A good sculptor, he believes, should be familiar with the traditions of architecture and painting. Likewise he says "I think architects and planners should learn to paint, to carve, to cast, to work in all phases of design. One aspect of the visual arts is not enough...
...shown on this and the following pages. The U.S. pioneers all employed varying degrees of distortion and/or abstraction. But their similarity stops right there. Seeing the contrasts in their art, few would take them for countrymen, let alone contemporaries. Tobey's Transit, for example, relates to no objective visual experience at all, unless it be that of images swimming in the tight-shut eye. Hartley's German Officer deals with a mood, not a visual image. Davis' Eggbeater beats the eggbeater into unrecognizable shape. Hofmann's Red Trickle celebrates an activity rather than a perception. Dove...