But Hofmann himself is also to blame in some part-and actually, the more excellence I find in his art the more I incline to shift the blame toward him.
This is not the same as the superb physical identity too little noticed with which the Old Masters, even as they tried to conceal art with art, endowed their pictures by covering them with multiple films and scumbles of paint. Most of these pictures are more important as art than as prophecy, but it is only in the light of what they did prophesy that people like myself have learned to appreciate them; ten years ago and more, when they were first shown, they were too new.
The weight and density of his paint-attributes it has even when it is not thickly impastoed-contribute to the presence his pictures have as objects as well as pictures. He could be said to take the easel tradition into regions of chromatic experience it never before penetrated.
The less successful pictures point toward the more successful ones, and in the retrospective light of these they acquire a necessity that can endow them with conclusive qualities of their own.
I want, rather, to endow them with the dignity and seriousness they deserve. There is also the fact-not as minor as it looks-that, just as some of his thickly impastoed pictures like the already mentioned Gilotin lose quality when they dry out, so others gain quality in doing so.
Since the decline of stained-glass painting the trend of Western tradition has been more or less to exclude color from a decisive role in pictorial art. Because the drawing is geometrical, it is simple, and because it is simple, it is expectable, and being expectable, it leaves all the more room for a rich and unexpected complexity of color relations.
Here color determines form from the inside as it were; thick splotches, welts, smears, and ribbons of paint dispose themselves into intelligible shapes the instant they hit the surface; out of the fullness of color come drawing and design. Then Paul got into a sharp argument with fellow apostle Barnabas, and they parted company.
What hours, O what black hours we have spent This night! And there is the large and superbly original Undulating Expanse ofwhich, along with four or five other, and smaller, paintings in the same series of studies-all inspired by the pos-sibility of an architectural commission-is rapidly and almost transpar-ently brush-drawn on the bare priming.
At the same time, such a diversity of manners makes one suspect an undue absorption in problems and challenges for their own sake. But his paint-ing itself, as distinct from what he wants of it, renders this opposition fruitful by assimilating the very tendencies it resists.
Not only will Hofmann main-tain emphatic, Fauvist color against emphatic, Cubist drawing: Editions Georges Fall, Among the puzzling, reluctant innovators, Hofmann, the first "drip painter," belongs.
Barnett Newman and Mark Rothko have already entered that epoch, and so have two or three younger American painters, but it has been left to Hofmann to establish firmly, and interestingly, the explicit no less than implicit continuity with the past of the new vision of color that is at stake.
He was very particular about his wording when he recast his first revelation about restoration to state specifically that God was bringing the Church back out of the wilderness, where it had been nurtured of the Lord during a period when priesthood ordinances were no longer performed to bind on earth and in heaven.
But one had Roberts stumped. His own move started with Fauvish landscapes and large still-life interiors that he began painting shortly after He has not joined that trend to oversize canvases which has become prevalent lately in American abstract painting.
The red and green Flowering Desert of is done in this manner, and so are many much smaller paintings in which warm greens a color of which Hofmann is the unique master predominate, as they do also in a master-piece like Le Gilotin of which, in drying, has unfortunately lost almost all of its original luster ; and there is also the Bouquet of l YS1.
Most crippling, however, are the false expectations this paradigm sets up: The Nature of Restoration Recently a Mormon scholar announced his departure from Mormonism and baptism into another faith tradition.
And what makes the paint-covered rectangle all the more such statement is its admitting of so many accents in the way of color, shape, and the line that seem to negate involution.
I believe remembering can be the highest form of devotion.
That sounds absurd to Mormons as well.In this open letter to doubters of the Latter-day Saint faith, the well-known author Terryl Givens does not attempt direction to resolve uncertainties and.
CLEMENT GREENBERG. HOFMANN.
More than a simple essay in praise of a great artist, this pays tribute to Hofmann's vast influence on American abstraction as well as on Greenberg, himself.Download