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The article features the life and works of Pablo Picasso, as a modernist painter in France. It states that critics have already written about Picasso until he passed away resulting to reminiscences of his arts, paintings and sculptures. It explains that Picasso's main contribution to modernity is Cubism which is not just since it is inexpressive system and lay much of its beauty. Also mentioned is the passionate artistic activity of Picasso as he shows his inclusiveness and eloquence in his various artworks, which no man alive can rival his cultural embodiment of the self.

The article focuses on the collection of early French modernist paintings from trips to Paris, France by two Russian millionaires Sergei Shchukin Ivanovich and his younger friend Ivan Morosov, which were divided between the Pushkin Museum in Moscow and the Hermitage in Leningard in Russia. It states that the collections were banished to the cellars by Joseph Stalin and then reinstated after 1954 and used by the Soviet Union as a cautiously played trump in the diplomatic game of cultural exchange. Details regarding the exhibition for the collection which featured Henri Matisse's art is discussed.

Focuses on the influence of French Fauvist painter Henri Matisse to his contemporaries. Rise of the so-called modern movement in France; Definition and description of the movement; Attempt of painter Paul Cezanne to control the movement; Artistic styles and techniques of Paul Gauguin and Vincent Van Gogh; Maintenance of a state of distortion in the objective reality of Matisse and Pablo Picasso; Establishment of the school of Cubism and Futurism by Picasso.

The article presents comments on Francis Bacon, a painter. According to the author, Francis Bacon is probably the only major contemporary artist over fifty who can claim an extraordinary breadth of vision and who is yet, quite aside from being without followers or substantial influence, estranged from, all developments in postwar painting. Bacon defies categorical habits of mind a life too forceful for his reputation to be an easy one. He has the most unlikely affinity with the Italian Futurists. Aside from a few coincidences of subject matter, he shares with them the technical problem of finding equivalents in paint for tracks, or sometimes even tremors, of motion.

The article discusses the impact of Cubism on the development of modern art in the early parts of the twentieth century. It says that the attack of Cubism on reality cannot be denied, particularly on the rational form and space compositions that have led to different forms of abstract art. According to the author, some of the Cubist-derived art forms include general advertising techniques, poster work and contemporary architecture. The analytical phase of Cubism from 1908 to 1912 and the artists whose works influenced wider movements are also discussed.

The article comments on the modernism of art. The outlook of avant-gardes on how they can sustain itself without accompanying development of art was illustrated in the art periodical of Opus International LLC which is published in Paris, France. American radicalism in art conducts its battles over issues that are formal and metaphysical rather than social. Artists Lucy Lippard and Douglas Huebler represent a particular kind of continuation of the avant-garde tradition of aesthetic negation and social revolt.

The article discusses how the step-by-step march toward abstraction is used to approach issues related to pictorial subjects in painting. It says that the pull of the unconscious is fruitful only when the subconscious is filled with the raw material of art, which artists believe is everything. The author adds that young and middle-aged painters who have absorbed the important lessons of modernism are forced to work out a dialogue between the concrete and the abstract. The threat of relapse into the mindless repetition of standard forms is also discussed.

Focuses on the concept of art. Purpose of creating the Tomb paintings of the Egyptians; Notion of art as a thing; Development of pop art; Rise of the Dutch still-life and genre painting in the 17th Century; Refusal by abstract expressionism of all previous standards of art; Information on the first important appeal made by the paintings of painter Wassili Kandinsky.

The article reports on the development of art nouveau during the Industrial Revolution, which focuses on the popularity of color purple between 1985 to 1900. It states the reappraisal of European connoisseurs regarding Bauhaus modernism to restore its masterworks from furniture, stained-glass, and buildings. It mentions several art-nouveau architects and painters who preserve the art movement in buildings, including Franz von Stuck, Victor Horta, and Antoni Gaudi.

Discusses Impressionism in art as something more than a method of painting. Definition of Impressionism; Modes of impressionist living; Art techniques in impressionist painting; Themes in impressionist art; Impressionism in literature and journalism; Typical impression of people that impressionism is an obstacle in the way of growth, a revolt against tyranny, and is subject to decay by its own law which is change.

Focuses on the inauguration of a new epoch of painting. Completion of the cycle of painting; Freedom to choose the colors in paintings; Intimidation of the critic by the painter who declares that this beauty is too new and too strange for him to see; Revolt against the realism of Courbet and the impressionism of Monet; Compilation of art history.

Nature, or rather the country, was simply a member of the family to be observed close up, affectionately, in every sense and mood, according to impressionist Camille Pissarro. He had a tenacious loudness for disheveled or ordinary little vistas, whose worthiness of attention as a fragment of his own life went without saying. Unlike his colleagues, this elder statesman of impressionism never consciously evoked moods, nor projected himself into the scene around him. By the eighties, the impressionists were in various states of crisis. But Pissarro embraced neo-impressionism, with its dualistic stylization of paint units, and its emphasis on an increased, if more concentrated, chromatic impact.

This article presents information regarding arts. Because of its predominantly conceptual nature, the painting of the past fifty years abounds in a kind of art that makes its claim primarily, often, indeed, exclusively, by means of ideas rather than by the quality or felicity of its visual realization. Artists of undisguised ineptitude have sometimes been able to win a place for themselves in our histories, simply as representatives of an "idea" that may be atrociously realized in their work but that is considered none the less important because of the place it occupies, chronologically and intellectually, in the historical development of modernist innovations.

Reviews the music recording "Modern American Music Series," by Columbia Records.

Discusses modern music during world war II. Information that musicians Harl MacDonald and Deems Taylor are modernists; Focus on pictures at an Exhibition, with Ravel's orchestration and the Boston Symphony's Gallic tone; Fact that efforts to get away from the romantic ideal is somewhat painful; Information that Zoltán Kod&aacutely has been more painstaking and loving than composer Béla Bartok in searching out the folk music of the Middle Danube Basin.

It is hard to say whether it is more astonishing that the National Academy of Design should still be homeless or that its annual exhibition should be so insignificant. Other institutions in other towns manage to give far better shows. But the Academy seems not wily to have got into a rut, but not to want to get out of it. Unfortunately, the older generation is passing and so far the younger generation contents itself with playing at second-hand revolt. But even, the re-echo of Post-Impressionism and its offshoots could not be more dull than the endeavor to gain distinction by copying the men who have achieved it. If one painter will but lead the way, the many follow like sheep.

The article presents information related to the art exhibitions in the U.S. during the year 1952. The article informs that till January next year fauvists are on display. The selection of examples is nothing less than magnificent, and the arrangement, against walls of varying reticent grays, allows the bold color and design' full projection. The French painter Henry Matisses has been seen and praised in relation to his other work but not in relation to the fauvist movement itself, the name of which, like that of most of the other modern movements, is singularly inappropriate.

The article focuses on the painter Larry Rivers. His paintings reflect the several depots of his journey which include the Bronx, the Hans Hoffman assembly line, the new Bohemia. His latest: paintings, exhibited this month by Tibor de Nagy, indicate that he is only a year or so away from a top position in avant-garde art. Rivers is so take up with the stereotyped sloppiness of present-day intra-subjective painting that he loses any chance for playing with such powerful and subtle machinery as shape, contour, three-dimensional composition.

This article focuses on the book "Expressionism in Art; its Psychological and Biological Basis," by Oscar Pfister. Pfister confines his study of expressionism to those abnormal products of the modern art movements which have aroused such scorn and derision, and which exhibit a revolutionary spirit akin to the bolshevist spirit. Pfister was led to deal with this subject by the method of psychoanalysis through a patient, a French artist of high accomplishment, whom the war had wrecked nervously, and who came to him for treatment.

The article features Keith Shaw Williams, an American painter. Williams has a background in technical drawing and declares himself a conservative painter, disdaining modernism. Despite this, he decries conservatism in those who focus more on technique, and less on expressing a message. Williams' work is said to focus on portraits. A technical explanation of his style is also provided.

The article focuses on sculptor Raymond Puccinelli. Puccinelli was never influenced by modernism, retaining his individuality and independence unlike his American contemporaries. His mediums include bronze, Georgia marble and terra cotta, and it also notes that his craftsman's instinct allows him to determine each medium's extent and limitation. His sense of beauty displayed in his works has been perceived as reverence for the object. Several of his works are presented.

The article highlights American painters of modernism and reality during the period 1900-1930. During this period, fine arts became a tool for people seeking an image of refinement which gave art patrons power over painters. Some of the better known names during the era were James McNeill Whistler and Mary Cassatt. Styles like Fauvism, cubism and abstraction became accepted trends in the art world.

The article offers information on the issues associated with the changes in the later works of the Italian painter Giorgio de Chirico. It mentions that he produced several works which have set him firmly among the masters of European modernism until 1918. However, it says that De Chirico had switched his goals which reportedly caused the reverse of the people's admiration. His last piece entitled "St. George Killing the Dragon" which is said to be showing glutinous paint is also mentioned.

The article examines the growing role of modern art in business. It is pointed out that there is sufficient reason to believe that the influence of modernism on business is here to stay and rather than decline will strengthen. A survey of retail dealers has shown that the demand for modern concepts in furniture has been increasing. It is also observed that modern art is oftentimes inspired by the machine and has attractive combinations of circles and lines.

The article focuses on the life and works on Arthur Bowen Davies, the prime mover of the modern art in the U.S. It highlights Davies' genre of modernism in his works by portraying youthfulness displayed by nymphs and little girls and his support to the 1913 Armory Show of Modern Art in New York City. Details related to the surge of the cubist movement after the Armory Show, the death of Davies in Florence, Italy, and the exhibition of his paintings in Utica, New York are also presented.

This article presents information on the book "Illuminations," by Arthur Rimbaud and translated by Louise Varese. This book, reportedly, is a collection of prose poems of Rimbaud. "Illuminations" is usually considered an English import into French. Most people think of Rimbaud as the very archetype of youth in revolt, as well as the founder of modernist poetry and one of the greatest secular, that is non-religious mystics. But this was not Rimbaud's approach; he applied it to the literature only. This book is supposed to be motivated with mystical insights.

A response to a letter to the editor by Evelyn Marie Stuart in the August 15, 1955 issue is presented which focuses on Modernism.

The article focuses on a concert held at Carnegie Hall in New York to honor French modernist Marcel Crise for his 75 years as a leader of the avant-garde. The concert was made in the opening choice of Mozart's Piano concerto No. 25 in C. Volunteers from the audience was invited to help play the Alberti bass, a repetitious left-handed arpeggio figure.

The article discusses the so-called avant-garde paintings which were exhibited at the Brussels Fair in Belgium in 1958. The author believes that the system on which the acceptance of avant-garde art is based is an illusion. He cites the contradictory views of a number of experts and apologists of avant-garde art, including those of Thomas B. Hess who considered the choice of paintings a comical scandal and Parker Tyler who described the art as a world of shadow.