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[continued]

‘About 1952* there was a significant shift within modernism** from what had come to be called Functionalism, or the International Style, towards a monumental Formalism. There was an increasing interest in the convolutions of highly sculptural masses and spaces, as well as in the decorative qualities of diverse building materials and exposed structural systems.’

***

*{64A~1952}

**[in architecture]

***[– ibid (Encyclopaedia Britannica 13:1050)]

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[continued]

‘See E[ncylopaedia] B[ritannica]* for the details** –

and note effect (limited) of e.g.[:]

Art Nouveau: end of 19th century [ce]
Constructivism***
Futurism: c[irca]1914[ce]***
(Expressionism 1910-25[ce] (Germany))
↓Cubism 1906[ce] (Paris)***
└ de Stijl movement: 1917[ce] Netherlands
Neoplasticism**
Suprematism**

***and the work, in forming the ‘International Style’, of:
Walter Gropius (1883-1969[ce])****
Mies van der Rohe (1930[ce]ff)****
Le Corbusier

****(at the Bauhaus)

‘After 1930 the modern movement spread through Europe.’

#

*[– ibid (Encyclopaedia Britannica 13:1039-1053)]

**[of the architectural trends outlined in the last 6 previous ts journal entries, [Redbook10:88][19910512:1718ig]{Modern Art [continued (89)]}[Extracts from source text with ms notes][12th May 1991]ff]

***[See above, in text]

****[See above, in text]

# – E[ncyclopaedia] B[ritannica] 13:1048

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[continued]

*

*[– ibid (Encyclopaedia Britannica 13:1039)]

[Source text continues from last previous ts journal entry]

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[continued]

*

**

*[Marginal note above:]

{↓}

[Ref (presumably) next ts journal entry]

**[– ibid (Encyclopaedia Britannica 13:1039)]

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[Source text continues in next ts journal entry]

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[continued]

*

*[– ibid (Encyclopaedia Britannica 13:1039)]

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[Source text continues in next ts journal entry]

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[continued]

*

*[– ibid (Encyclopaedia Britannica 13:1039)]

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[continued]

*

* [– ibid (Encyclopaedia Britannica 13:1039)]

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[continued]

{– Modern Architecture}

*

* [– Encyclopaedia Britannica 13:1039]

[Source text continues in next ts journal entry]

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[continued]

‘Epstein’s public monument to "Social Consciousness" (1952-53[ce]), in Fairmount Park, Philadelphia, treats the helplessness of those confronted with pressures* over which they have no control. In contrast to the invulnerable champions of academic art, these** sculptures image the hero in distress.’***

****

*ie on others

[than the artist!]

**[ie this, & others mentioned immediately beforehand at Encyclopaedia Britannica 27:111]

***{

		C
	/
R~

}

**** – ibid [Encyclopaedia Britannica 27]: 111-112

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[continued]

‘Moreover, an increasing number of gifted sculptors are providing handsome liturgical objects and decorations, such as Harry Bertoia's shimmering reredos, Lipton's work for a synagogue in Tulsa, Oklahoma, and Roszak’s sculptured spire for Kresge Chapel on the campus of the Massachusetts Institute of Technology, Cambridge.’

*

* – ibid [Encyclopaedia Britannica 27:111]

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[continued]

‘The argument that modern sculpture is inappropriate for religious requirements is disproved by works of Lipchitz, Lassaw, & Herbert Ferber. In keeping with the Jewish preference for nonfigural art, Ferber’s “...and the bush was not consumed” (1951[ce]), commissioned by a synagogue in Millburn, New Jersey, comprises clusters of branches and boldly shaped weaving flames, invisibly suspended in a powerful and intimate vision that absorbs its viewers with its hypnotic rhythm. Lassaw’s “Pillar of Fire”, for the exterior of a synagogue in Springfield, Massachusetts, also has a mesmerizing pattern recalling the illusory images sometimes seen in flames. Lipchitz’s sculpture of the “Virgin of Assy” (1948-54[ce]) was commissioned for the Catholic church at Assy, France.’

*

* – ibid [Encyclopaedia Britannica 27:111]

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[continued]

‘By creating presences that elude rational definition, these artists* restored to art its ancient aura of myth, mystery and magic in an age that consistently disdains their existence.

**

*[Ref Encyclopaedia Britannica 27:111]

** – ibid [Encyclopaedia Britannica 27:111]

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[continued]

‘Archaizing, idol making, and religious sculpture. After World War II several sculptors became interested in the art of early Mediterranean civilizations. The result was a conscious archaizing of the human form with the intent of recapturing qualities of Cycladic idols, early Greek and Egyptian statuary, and some aspects of late Roman art.’

*

* – ibid [Encyclopaedia Britannica 27:] 111

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