The New Criterion, Bind 3,Oplag 6–10Foundation for Cultural Review, 1985 |
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Side 5
... painting if it fails to denote signs of class distinction , or other evidence of social conflict , with the requisite degree of docu- mentary explicitness . To the extent that he can be said to have an " eye " for anything in painting ...
... painting if it fails to denote signs of class distinction , or other evidence of social conflict , with the requisite degree of docu- mentary explicitness . To the extent that he can be said to have an " eye " for anything in painting ...
Side 28
... paint- ing . Their failure convinced Tillim that modernist painting , with its emptying out of space and generalizing of forms , could simply not support a monumental art . The figure , Tillim believed , must be the carrier of ...
... paint- ing . Their failure convinced Tillim that modernist painting , with its emptying out of space and generalizing of forms , could simply not support a monumental art . The figure , Tillim believed , must be the carrier of ...
Side 4
... painting at a crucial stage of its development . Cubism , for example , he was later in the habit of mocking . Yet it was from Cubism that he derived the syntax of his greatest paintings . The entire design of a picture such as Half ...
... painting at a crucial stage of its development . Cubism , for example , he was later in the habit of mocking . Yet it was from Cubism that he derived the syntax of his greatest paintings . The entire design of a picture such as Half ...
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