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gri_2003_m_46_b06_f12_008

Transcribers

  1. 71849656 - Preacher357
  2. 71936603 - RommelC
  3. 72426787 - Chris5420
  4. 72577253 - jesseytucker
  5. 72682357 - darryluk
  6. WINNER - 73170850 - marcinj

71849656 - Preacher357

PAINTING
It is difficult to characterise a year's painting with
much certainty. Easel painting is, by its very nature, in-
dividualistic and experimental - the product of the artist
in his studio, free of the dicates of patronage. To impose
a fixed form on the most changeable of art forms is no easy
talk. One must even take into account the time-lag between
the canvas, wet on the artist's easel, and the same work hang-
ing, framed, in a gallery. However, provisional contours may
be indicated.
The popularity of not-figurative art (closely called abstract
art) was undiminished in 1953. Abstract art is truly cosmo-
politan in the way that Gothic and Mannerism were international.
Italy, Scandinavia, France, Britain, despite local differences,
had much in common: Serge Poliakov and William Scott, Hans Har-
tung, and Giuseppe Santomaso, for example, link Paris and London,
Paris and Venice by their stylistic affinities. Abstract art
has many more degrees, many shades of formal meaning: during the year
Nicholas de Stael's sensual painterliness and Max Bill's linear
exactitude were both influential (the former more so).
Probably the most significant phase of post war abstract art
was the revival and extension of Abstact Expresaionism, a move-
ment with strong American allegiances. In France a group was
sponsored by Michel Tapie - whose book Un Art Autre circulated in
1953. In spirit the group was vehement, dark, expressionistic.
Their art was intended less as a style than as a series of ges-

71936603 - RommelC

PAINTING

It is difficult to characterise a year's painting with much certainty. Basel painting is, by it's very nature, individualistic and experimental- the product of the artist in his studio, free of the dictates of patronage. To impose a fixed form on the most changeable of art forms is no easy task. One must even take into account the time-line between the canvas, wet on the artist's easel, and the same work hanging, framed, in a gallery. However, provisional contours may be indicated.

The popularity of non-figurative art (loosely called abstract art) was undiminished in 1953. Abstract art is truly cosmopolitan in the way that Gothic and Mannerism were international. Italy, Scandinavia, France, Britain, despite local differences, had much in common: Serge Poliakov and William Scott, Hans Hartung and Giuseppe Santomaso, for example, link Paris and London, Paris and Venice by their stylistic affinities. Abstract art has many degrees, many shades of formal meaning: during the year Nicholas de Stael's sensual painterliness and Max Bill's linear exactitude were both influential (the former more so).

Probably the most significant phase of post war abstract art was the revival and extension of Abstract Expressionism, a movement with strong American allegiances. In France a group was sponsored by Michel Tapie- whose book "Un Art Autre" circulated in 1953. In spirit the group was vehement, dark, expressionistic. Their art was intended less as a style than as a series of ges-

72426787 - Chris5420

PAINTING
It is difficult to characterise a year's painting with such certainty. Easel painting is, by its very nature, in-dividualistic and experimental - the product of the artist in his studio, free of the dictates of patronage. To impose a fixed form on the most changeable of art forms is no easy task. One must even take into account the time-lag between the canvas, wet on the artist's easel, and the same work hang-ing, framed, in a gallery. However, provisional contours may be indicated.
The popularity of non-figurative art (loosely called abstract art) was unfinished in 1953. Abstract art is truly cosmo-politan in the way that Gothic and Mannerism were international. Italy, Scandinavia, France, Britain, despite local differences, had much in common: Serge Poliakov and William Scott, Hans Har-tung and Giuseppe Santomaso, for example, link Paris and London, Paris and Venice by their stylistic affinities. Abstract art has many degrees, many shades of formal meaning: during the year Nicholas de Stael's sensual painterliness and Max Bill's linear exactitude were both influential (the former more so).
Probably the most significant phase of post war abstract art was the revival and extension of Abstract Expressionism, a move-ment with strong American allegiences. In France a group was sponsored by Michel Tapie - whose book Un Art Autre circulated in 1953. In spirit the group was vehement, dark, expressionistic. Their art was intended less as a style than as a series of ges-

72577253 - jesseytucker

PAINTING
It is difficult to characterise a year's painting with
such certainty. Easel painting in, by its very nature, in-
dividualistic and experimental--the product of the artist
in his studio, free of the dictates of patronage. To impose
a fixed form on the most changeable of art forms is no easy
task. One must even take into account the time-lag between
the canvas, wet on the artist's easel, and the same work hang-
ing, framed, in a gallery. However, provisional contours may
be indicated.
The popularity of non-figurative art (loosely called abstract
art) was undiminished in 1953. Abstract art is truly cosmo-
politan in the way that Gothic and Mannerism were international.
Italy, Scandinavia, France, Britain, despite local differences,
had much in common: Serge Poliskov and William Scott, Rene Ear-
tung and Giuseppe Santomaso, for example, link Paris and London,
Paris and Venice by their stylistic affinities. Abstract art
has many degrees, many shades of formal meaning: during the year
Nicholas de Stael's sensual painterliness and Max Bill's linear
exactitude were both influential (the former more so).
Probably the most signficant phase of post war abstract art
was the revival and extension of Abstract Expressionism, a move-
ment with strong American allegiances. In France a group was
sponsored by Michel Tapie--whose book Un Art Autre circulated in
1953. In spirit the group was vehement, dark, expressionistic.
Their art was intended less as a style than as a series of ges-

72682357 - darryluk

PAINTING

It is difficult to characterise a year's painting with much certainty. Basel painting is, by its very nature individualistic and experimental - the product of the artist in his studio, free of the dictates of patronage. To impose a fixed form on the most changeable of art forms is no easy task. One must even take into account the time-lag between the canvas, wet on the artist's easel, and the same work hanging, framed, in a gallery. However, provisional contours may be indicated.

The popularity of non-figurative art (loosely called abstract art) was undiminished in 1953. Abstract art is truly cosmopolitan in the way that Gothic and Mannerism were international. Italy, Scandinavia, France, Britain, despite local differences had much in common: Serge Poliakov and William Scott, Hans Harstung and Giuseppe Santomaso, for example, link Paris and London, Paris and Venice by their stylistic affinities. Abstract art has many degrees, many shades of formal meaning: during the year Nicholas de Stael's sensual painterliness and Max Bill's linear exactitude were both influential (the former more so).

Probably the most significant art was the revival and extension of Abstract Expressionism, a movement with strong American allegiances. In France a group was sponsored by Michel Tapie - whose book Un Art Autre circulated in 1953. In spirit the group was vehement, dark, expressionistic. Their art was intended less as a style than as a series of ges-

WINNER - 73170850 - marcinj

PAINTING
It is difficult to characterise a year's painting with
much certainty. Easel painting is, by its very nature, in-
dividualistic and experimental- the product of the artist
in his studio, free of the dictates of patronage. To impose
a fixed form on the most changeable of art forms is no easy
task. One must even take into account the time-lag between
the canvas, wet on the artist's easel, and the same work hang-
ing, framed, in a gallery. However, provisional contours may
be indicated.
The popularity of non-figurative art (loosely called abstract
art) was undiminished in 1953. Abstract art is truly cosmo-
politan in the way that Gothic and Mannerism were international.
Italy, Scandinavia, France, Britain, despite local differences,
had much in common: Serge Poliakov and Willam Scott, Hans Har-
tung and Giuseppe Santomaso, for example, link Paris and London,
Paris and Venice by their stylistic affinities. Abstract art
has many degrees, many shades of formal meaning: during the year
Nicholas de Stael's sensual painterliness and Max Bill's linear
exactitude were both influential (the former more so).
Probably the most significant phase of post war abstract art
was the revival and extension of Abstract Expressionism, a move-
ment with strong American allegiances, In France a group was
sponsored by Michel Tapie- whose book Un Art Autre circulated in
1953. In spirit the group was vehement, dark, expressionistic.
Their art was intended less as a style than as a series of ges-

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