Excerpt from New Art Around the World: Painting and Sculpture
Giving a survey of present - day painting and sculpture in Europe, North and South America, and Japan has proved to be a difficult enterprise. At any inter national show, the jury is faced with the all but unanswer... able question of who is to be invited and who is to get the prizes. The number of young artists has become virtually infinite, the concept of art has expanded beyond all measure, and yet any interference by a jury is regarded as untimely. Everything is art, from works in a legitimate tradition to the most daring experiments with light projections or stagily ordered ensembles, and we do not have far to go to the time when mere indications will be given instead of worked-out sketches, indi cations for a public, whatever its reactions might be.
Not so long ago, any exhibition of modern art referred to Cézanne, to Cub ism, or to Klee's universal Geviert. People went back to the researches of Freud and Jung, spoke of archaistic structural elements, and looked for possible parallels between what art was saying and what Einstein and Planck were saying in science. New aspects were found of reality, of the artist-world relationship, of the artists' and the world's mutual containment rather than their mutual opposition. But all that is of very limited interest to painters and sculptors today. Mathieu was shocked by wois and found that he was marking the end to the development since 18 80; for young contemporaries, he is a glorious legend, in which his death is as important as his work. They would be just as unwilling to learn from Wols as from Hans Hartung and his thinking hand, which forms the meaning of his world.
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