In Paris, [Paul Poiret] was simply Le Magnifique, a suitable soubriquet for a couturier who employed the language of orientalism to develop the romantic and theatrical possibilities of clothing.
The limpid light of North Africa awakened [Paul Klee’s] sense of color. During his stay, Klee gradually detached color from physical description and used it independently, which gave him the final needed push toward abstraction.
Website Editor Michael Cirigliano II examines some of the parallels between composer Paul Hindemith and artist Max Beckmann—two prolific artists who both fled Nazi Germany in 1937.
Cézanne ignores the laws of classical perspective, allowing each object to be independent within the space of a picture while the relationship of one object to another takes precedence over traditional single-point perspective.
Treating the human condition in the modern urban context, Strand’s photographs are a subversive alternative to the studio portrait of glamour and power.
