1950

Articles from 1950

Explaining Abstract Art (Pageant Magazine, 1950)

WHY DO THEY DISTORT THINGS? CAN’T THEY DRAW? WHY DO THEY
PAINT SQUARES AND CUBES?


In an effort to help answer these and many other similar questions that are overheard in the modern art museums around the world, authors Mary Rathbun and Bartlett Hayes put their noodles together and dreamed up the book (that is available at Amazon) Layman’s Guide to Modern Artstyle=border:none, and we have posted some of the more helpful portions here, as well as 17 assorted illustrations to help illustrate their explanations.


The authors point out that abstract images are not simply confined to museums and galleries but surround us every day and we willingly recognize their meanings without hesitation:

Lines picturing the force and direction of motion are a familiar device in cartoons… The cartoonist frequently draws a head in several positions to represent motion. Everybody understands it. The painter multiplies the features in the same way… Everybody abstracts. The snapshot you take with your [camera] is an abstraction – it leaves out color, depth, motion and presents only black-and-white shapes. Yet its simple enough to recognize this arrangement of shapes as your baby or your mother-in-law or whatever…

Explaining Abstract Art (Pageant Magazine, 1950) Read More »

Explaining Abstract Art (Pageant Magazine, 1950)

WHY DO THEY DISTORT THINGS? CAN’T THEY DRAW? WHY DO THEY
PAINT SQUARES AND CUBES?


In an effort to help answer these and many other similar questions that are overheard in the modern art museums around the world, authors Mary Rathbun and Bartlett Hayes put their noodles together and dreamed up the book (that is available at Amazon) Layman’s Guide to Modern Artstyle=border:none, and we have posted some of the more helpful portions here, as well as 17 assorted illustrations to help illustrate their explanations.


The authors point out that abstract images are not simply confined to museums and galleries but surround us every day and we willingly recognize their meanings without hesitation:

Lines picturing the force and direction of motion are a familiar device in cartoons… The cartoonist frequently draws a head in several positions to represent motion. Everybody understands it. The painter multiplies the features in the same way… Everybody abstracts. The snapshot you take with your [camera] is an abstraction – it leaves out color, depth, motion and presents only black-and-white shapes. Yet its simple enough to recognize this arrangement of shapes as your baby or your mother-in-law or whatever…

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‘Uncle Ho Strikes Back” (Pathfinder Magazine, 1950)

Three years before the total French withdrawal from Vietnam, this one Frenchman summed up his comrade’s frustrations concerning their battles against the Viet Minh:

We can’t win a guerrilla war unless we have the support of the people. Frankly, we have not got it. Hitler or the Russians could conquer this country in two months with mass executions, wholesale reprisals and concentration camps. To fight this war and remain humanitarian is difficult.

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The March from Chosin to the Sea (Pathfinder Magazine, 1950)

This is an eyewitness account of the fortitude and endurance exhibited by the freezing members of the 1st Marine Division as they executed their highly disciplined 100 mile march from the Chosin Reservoir to the Korean coastline – inflicting (and taking) casualties all the while. The account is simply composed of a series of diary entries – seldom more than eight sentences in length recalling that famous fighting retreat in the frozen Hell that was Korea. The journalist’s last entry points out that the number of Marine dead was so high, we need never think of the Battle of Tarawa as the bloodiest engagement in Marine history.

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A Pox on Both Your Houses… (Pathfinder Magazine, 1950)

Washington’s growing impatience and distrust with both Chiang Kai-shek’s island nation and the communist thugs on the mainland was reaching the high-water mark during the earliest days of 1950 when President Truman’s Secretary of State Dean Acheson (1893 – 1971) presented that administration’s China policy:

No official military aid for Generalissimo Chiang Kai-shek’s Chinese Nationalist government, either on the island of Formosa [Taiwan] or anywhere else. No hasty recognition of the Communist Chinese government of Mao Zedong. No attempt to stop further Russian advances in Asia except through ‘friendly encouragement’ to India, French Indo-China, Siam, Burma and the new United States of Indonesia…

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A Rift in the Containment Policy (Pathfinder Magazine, 1950)

Washington’s growing distaste for the Chinese Nationalist dictator Chiang Kai-shek was reaching fever-pitch that last week in January, 1950, when President Truman’s Secretary of State Dean Acheson (1893 – 1971) presented the administration’s Asia policy:

No official military aid for Generalissimo Chiang Kai-shek’s Chinese Nationalist government, either on the island of Formosa [Taiwan] or anywhere else.

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The Air War in Korea (Pathfinder Magazine, 1950)

Five days after China entered the Korean War, three U.S. Air Force F-80 Shooting Star fighter jets duked it out with three Soviet-made MIG-15s 20,000 feet above the the Korean/Manchurian border. Lieutenant Russell Brown of Southern California fired the decisive shot that sent one MIG down in flames. While engaged with the other two F-80s, the remaining MIGs were dispatched in a similar manner (although other sources had reported that these two fighters had actually been able to return to their bases badly damaged). In the entire sordid history of warfare, this engagement was the first contest to result in one jet shooting down another.

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