Late Modern - The Visual Arts Since 1945 by Edward Lucie-Smith PDF

By Edward Lucie-Smith

Paintings; classic

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It was Matisse's work that he particularly admired, and it is this which influence as a teacher, his T can be thought of as underlying the more decorative side of That the new painters were not abstract expressionist painting. without roots in the past something that can be judged from to teach in the United States in 1932, and had founded the Provincetown Art School in 1934. His last phase, upon which he embarked when he was over sixty, was both logical in the artistic climate of the time, and in human terms wonderfully unexpected: an example of a talent at last unfolding to its full extent when the right atmosphere was provided for it.

He had his first one-man exhibition at the Art of This Century Gallery in 1944. As the abstract expressionist movement got under way, the range of Motherwell's activities continued to expand. He was co-editor of the influential but short-lived magazine Possibilities 111 1947—8, and m 1948 founded an art school with three other important painters, William Baziotes, Barnett Newman, and Mark Rothko. In 19 s 1 he published an anthology of the work of the dada painters and poets which was one oi the earliest signs oi the arrival of neo-dada\ so tar as it WILLIAM BAZIOTES CottgO I954 I ROBERT 8 MOTHERWELL Elegy to the Spanish Republic no.

In a picture such as The also art. Constructors, painted in 1950, we see an attempt to bring a Poussinesque classicism to terms with properly modern and Marxist subject-matter. The results have been duly admired by Marxist critics. Nevertheless, a reversion to Poussin seems curiously eccentric and wilful even in the wilful world ol post-war art. Even the two acknowledged masters whose work seems most relevant to the post-war scene seem to have achieved this relationship almost by accident. The most conspicuous triumph was that of Matisse, who became in his old age almost as radical an artist as he had been at the time of the fauves.

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