National Art Education Association

News and NotesAuthor(s): Burt WassermanSource: Art Education, Vol. 17, No. 8 (Nov., 1964), pp. 38-39Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190418 .

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BURT WASSERMAN

Dr. Burt Wasserman is an associate professor of art at Glassboro State College in Glassboro, New Jersey.

New (?) Talent

It is ironic. An artist will study and work for years and years. He will exhibit here and there. His work will receive a line or two of comment. With the passage of time his work will become known to other artists. By and large, he will tend to go on, without notice. Then, and often by chance, some

magazine art writer, in search of new copy for the next deadline, will

suddenly "discover" him. Good ex-

amples of work by soundly estab- lished, experienced artists are evi- dent in a show titled: A DECADE OF NEW TALENT. New? No, not if your eyes have been open.

Anyway, the show is on view at the Kresge Art Center of Michigan State University in East Lansing, Michigan. The exhibition will close there November 27 and may be seen next at the Witte Memorial Museum in San Antonio, Texas from December 11 to January 1. After that the show is scheduled for presentation at the Delaware Art Centre in Wilmington; The Art Department, Purdue University in

Lafayette, Indiana; and the Des

Moines Art Center of Iowa in 1965. Edward Bryant, Associate Cu-

rator of the Whitney Museum, and Daniel Robbins, Assistant Curator of the Guggenheim Museum, select- ed the works that comprise the exhibition being circulated by The American Federation of Arts. The

objects chosen by these two men, representative of the younger gen- eration of museum curators, were selected from winners of the annual new talent awards of the magazine Art in America. For the past ten

years this publication has devoted one issue a year to what they like to call new talent in the United States.

Most of the painters are repre- sented in this exhibition by two canvases, from different years in the decade demonstrating the con- tinuing vitality of their work. An Elmer Bischoff "Landscape With Bare Tree," painted in the year he was chosen as a "New Talent" for the Art in America series, 1958, is shown beside his "Lavender Cur- tain" of four years later. In the abstract idiom, there are two ex-

amples of Al Jensen's high-keyed, densely textured paintings, "The Integer Rules The Universe," 1960, and "Male-Crosscurrent Color," 1963.

Other painters in this exhibition are Frankenthaler, Hartigan, Held, Kelly, and Marca-Relli. Among the sculptors included are di Suvero, Mallary, Westermann, and Wines.

Spirit of New Berlin Another fine exhibition currently

being circulated by the American Federation of Arts is titled: THE SPIRIT OF NEW BERLIN IN PAINTING AND SCULPTURE. Sponsored by the City of Berlin and selected by the German Arts Council, the exhibition presents characteristic examples of painting and sculpture created in contem- porary Berlin. The central position of that city in world affairs is reflected in the international quality of its art.

The exhibition will be on view from November 17 until December 8 at the Herron Museum of Art in Indianapolis, Indiana. From Jan- uary 26 until February 16 the works in the show may be seen at the Gibbes Art Gallery in Charles- ton, South Carolina. Later, in the spring of 1965, the show will travel to the Lyman Allyn Museum of New London, Connecticut and the University Galleries at Southern Illinois University in Carbondale, Illinois.

The five senior artists in the ex- hibition, the painters Hans Jaenisch, Fred Thieler, and Hann Trier, the sculptors Karl Hartung and Bern- hard Heiliger, all have worldwide reputations. The younger artists, many of whom have also already exhibited widely abroad, include the painters Bachmann, Bartel, Bergmann, Bluth, and Stohrer; and the sculptors Baumann, Droste, Szymanski and Ursula Sax.

Only Kurt Bartel and Manfred Bluth were actually born in Berlin. The other artists in this exhibition come from all over Germany-both East and West-attracted to Ber- lin as an art center. Their work demonstrates that Berlin has again become a world capital of art.

Beckmann in Boston

While the Spirit of the New Berlin show noted above centers attention on German artists still alive, the Museum of Fine Arts in Boston is currently offering visitors an opportunity to see a retrospec- tive exhibition of art by the late Max Beckmann, one of the major German painters of the twentieth century. The show closes on No- vember 15.

The exhibition includes paintings, watercolors and drawings from public and private collections, both American and European. A selec- tion from The Art Institute of Chicago's rich collection of Beck- mann prints is also included. Land- scapes, still lifes and portrait studies comprise the range of subject matter.

The exhibition falls naturally in- to three distinct divisions-Early Work: 1900-1914; Transition: 1916-1932; and, the Late Period: 1933-1950. The exhibition was or- ganized jointly by the Museum of

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1. LAVENDER CURTAIN, Elmer Bischoff. 2. SAMURAI, Gerhart Berg- mann. 3. SARABAND, Hans Jaenisch. Photos courtesy The American Fed- eration of Arts.

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Modern Art, New York City; the Museum of Fine Arts, Boston; and The Art Institute of Chicago.

Max Beckmann's main concern was "to transform the three-dimen- sional world of objects into the two-dimensional world of the can- vas." Beckmann achieved his aim by penetrating the picture space with form and light. He was no escapist. His painting is full of physical reality and is never devoid of the human element. It has been said that Max Beckmann's greatest contribution to modern art was his establishment of a new alliance and a new balance of power between form and content, between wonder and reality. After leaving Boston the exhibition will travel to New York City and then to Chicago. During the Summer of 1965 the show will be on view in Hamburg and Frankfurt, Germany. The ex- hibition will close at the Tate Gal- lery, London, in the Fall of 1965.

An Invitation to Artists The Henri Studio Gallery is

anxious to hear from artists inter- ested in exhibiting their work. For further information write to the gallery at 1247 Commonwealth Avenue in Brighton, Massachusetts.

Vasari Painting in Montreal The 16th century painting by one

of Michelangelo's most famous disciples, discovered by chance in a Toronto attic, has been purchased by The Montreal Museum of Fine Arts in honor of the late Edward (Ned) Cleghorn.

The work, entitled "The Mar- riage Feast at Cana," is by Giorgio Vasari (1511-74), one of the prom-

inent painters of the Florentine Mannerist school. In addition to his importance as an artist, Vasari was also the first great art historian. His name is synonymous with his book, "Lives of the Most Eminent Paint- ers, Sculptors, and Architects", a five-volume work on the significant artists of the Renaissance in Italy.

Mr. Cleghorn, in whose honor the painting was bought, was As- sociate Director of The Montreal Museum until his death in 1962.

The painting-oil on panel- measures 16 by 12 inches. It for- merly was part of the Esterhazy collection in Budapest and is a sketch for a big altarpiece in the Church of S. Pietro, in Perugia, painted in 1566. This smaller ver- sion is considered by many to be the superior work between the two.

Derain in Retrospect Perhaps the most important ret-

rospective exhibition of paintings by Andre Derain to be held in this country may be seen at the Hirschl & Adler Galleries, 21 East 67th Street in New York City, until November 21. The fifty paintings being shown demonstrate the con- tinuing excitement, power, and originality which accompanied De-

rain's development from his first brilliant Fauve period through his last, post World War II paintings. Most of the paintings have never been viewed in this country before and some have never been seen in public anywhere.

Included in the exhibition are the often reproduced self-portrait of 1895-1899, the London Fauve land- scapes of "Hyde Park" and "The Houses of Parliament," as well as French landscapes from this best known period of Derain's work. The Cezannesque period is repre- sented by several still lifes and a most unusual "Village Landscape." The show also presents 25 paintings from the later post World War I years which are not as well known and which tend to be under-esti- mated by art historians in our country.

In his drive for a personal state- ment, Derain forsook the fashion- able trends of the avant garde after the First World War, even though before the war he had been con- sidered one of its leading members, if not the leading member.

As a result, his later work was neglected and only now is it the subject of much controversy and re-evaluation. Possibly this new look will reveal Derain as one of the most vigorous and sincere painters of our time.

Department of Definitions Television Soap Opera: Raw ma-

terial for Pop-Art subject matter. Pop-Art: Art work unknowingly

made to order for exhibition by Huntington Hartford in the Gallery of Modern Art about fifty or so years from now.

A Children's Art Gallery At last -a gallery dedicated

solely to exhibiting the art of chil- dren through the age of thirteen. Miss Lucille Koltnow, Director of the Gallery at 151 East 80th Street in New York City, believes that the vision children have of them- selves and the world in which they live is worthy of attention. If you have work you feel should be exhibited or if you would like to learn more about the program of the gallery, contact Miss Koltnow at the address noted above. 39

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