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Encyclopedic in scope . . . . . . completely detailed low in price . . . ATLAS OF Human Anatomy FOR THE ARTIST By STEPHEN ROGERS PECT Those who have seen advanced copies of this superb work say it is the finest art anatomy ever published. Its outstanding achievement is the translation of the complex and frequently inaccessible facts of anatomy into the materials of design. Nearly 1,000 illustrations accompanied by concise text reveal the detailed, fundamental design of each part of the human anatomy and relate it to the over design of the body. A nice balance is preserved between technical data and aesthetic observations. Of special interest if a photo series of male and female figures, racial types and variety in physique. Among other features, the book also illustrates and discusses anatomy from birth to old age and analyzes facial expression. At all bookstores. Only $6.00 OXFORD UNIVERSITY PRESS 114 FIFTH AVENUE, NEW YORK 11 EARL STENDAHL GALLERY ANCIENT AMERICAN ART MODERN PAINTINGS 7055 Hillside Ave., Hollywood 28, Calif. Ethel . may 1-15 EDWARDS . oils and gouaches GRAND CENTRAL MODERNS 130 E. 56, N.Y. * 9:30 to 5:30 Tues, thru Sat. GLEITSMANN Through May 5 MACBETH GALLERY 11 EAST 57th St., N. Y. "ART TO LIVE WITH" Continued NEW-AGE GALLERY, Inc. SPRING GROUP 138 W. 15 Thru May 26 11-5 Daily paintings by through May 12 Pat COLLINS barzansky galleries 664 madison ave., n. y. bet. 60 and 61 sts. 60 Pollock continued from page 41 a new way of expression in art is often difficult of his work merely on the level of technical interest. Such a summation of Pollock's way of working is, of course, only part of the story. It has developed after years of concentrated effort, during long periods when nothing was satisfactory to him. He explains that he spend four years painting "black pictures," pictures which were unsuccessful. Then his work began to be more sure. There was a period of painting symbols, usually of figures or monsters, violently expressed. Of them, She Wolf, now owned by the Museum of Modern Art, was a crucial work. Here areas of brush-work and paint-pouring were combined, the painting being done partly on the floor and partly on the easel. The change to his way of working today was gradual, accompanying his various needs for expression, and though there is a sense of the brutal in what he does this gradually seems to be giving way to greater calm. During the cataclysmic upheavals painting has undergone in recent years there have been rather drastic measure taken with the object. It has been distorted and finally eliminated as a reference point by many artists. The questions arise as to what the artist is dealing with, where he gets his ideas, what his subject matter is, etc. The answer may be found partly in the consideration that these artists are not concerned with representing a pre-conceived idea, but rather with being involved in an experience of paint and canvas, directly, without interference from the suggested forms and colors of existing objects. The nature of the experience is is important. It is not something that has lost contact with reality, but might be called a synthesis of countless contacts which have become refined in the area of the emotions during the act of painting. Is this merely an act of automatism? Pollack says it is not. He feels that his methods may be automatic at the start, but that they quickly step beyond that, becoming concerned with deeper and more involved emotions which carry the paintings on to completion according to their degree of strength and purity. He does not know before hand how a particular work of his will end. He is impelled to work by the urge to create and this urge and what is produces are forever unknowable. We see paint on a canvas, but the beauty to which we respond is of an intangible order. We can experience the unknowable, but not understand it intellectually. Pollock depends on the intensity of the moment of staring to paint to determine the release of his emotions and the direction the picture will take. No sketches are used. Decisions about the painting are made during its development and it is considered completed when he no longer feels any affinity with it. The work of art may be called an image which is set between the artist and the spectator. A Pollock reveals his personal way of bringing this image into existence. Starting automatically, almost as a ritual dance might begin, the graceful rhythms of his movements seem to determine to a large extent the say the paint is applied, but underlying this is the complex Pollock mind. At first he is very much alone with a picture, forgetting that there is a world of people and activity outside himself. Gradually he again becomes aware of the outside world and the image he has begun to project is thought of a related to both himself and other people. He is working toward something objective, something which in the end may exist independently of himself, and that may be presented directly of others. His work may be thought of as coming from landscape and even the movement of the stars-with which he seems almost intimate at times-yet it does not depend on representing these, but rather on creating an image as resulting from contemplation of a complex universe at work, as though to make his own world of reality and order. He is involved in the world of art, the area in which man undertakes to express his finest feelings, which, it seems, is best done through love. Pollock, a quiet man who speaks with reserve and to the point, is in love with his work and his whole life evolves about what his is doing. He feels that his most successful paintings carry the same intensity directly to the edges of the canvas. "My paintings do not have a center," he says, "but depend on the same amount of interest throughout." Since it has no reference to objects that exist, or to ideal objects, such as circles and squares, his work must be considered from the point of view of expression through the integration of rhythm, color and design, which he feel beauty is composed of. Physical space is dispensed with as an element in painting-even the dimensions of the canvas do not represent measurements inside which relationships are set up, but rather only determine the ends of the image. Pollock's Number 4, 1950 is concerned with creating an image in these terms. In this it is like much of his other work, but it is also among his most successful paintings, its manifold tensions and rhythms balancing and counteracting each other so that the final state is one of rest. In his less realized paintings one feels a lack of rest: movements have not been resolved. Colors in Number 4, 1950 have been applied so that one is not concerned with them as separate areas: the browns, blacks, silver and white move within one another to achieve an integrated whole in which one is aware of color rather than colors. Nor is the concern with space here. There is no feeling that one might walk bodily into the rectangle and move about. This is irrelevant, the pleasure being of a difference nature. It is more of an emotional experience from which the physical has been removed, and to this intangible quality we sometimes apply the word "spiritual." In this picture Pollock has almost completely eliminated everything that might interfere with enjoyment of the work on this level. It is A picture book about pictures HOW PAINTINGS HAPPEN By Ray Bethers [[image of book]] A painter tells why and how painters paint in this informative book on basic art appreciation and pictorial composition. It shows how the idea of a painting starts and how to get at the deeper meaning beyond any particular subject matter. Sixty-one paintings by contemporary American artists are reproduced, with matching motif photographs. With each is a statement by the artist of his attitude toward nature. Covering all degrees of abstraction, this is a stimulating book for the student, painter and all who wish to understand and appreciate painting. Illustrated with 116 halftones and 46 diagrams. At all bookstores $4.50 W. W. NORTON & CO. 101 FIFTH AVE., NEW YORK 3 SCHAEFFER GALLERIES 52 East 58th Street, New York 22 Recent Paintings JEANNETTE KILHAM To May 12 HACKER GALLERY 24 W 58 [[image]] 44th St. Gallery presents ANTHONY HOWE PAINTINGS and DRAWINGS April 24 to May 18 133 W. 44th St., N. Y. DELIUS Gallery 18 E. 64th St., N. Y. Still Lifes & Flowers Chardin, Courbet, Klee, Van Gogh, etc. Paintings from Ireland by THURLOE CONOLLY April 24 to May 19 WILLARD 32 E. 57 ART NEWS
