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ARTISTS OF THE HARVARD GRADUATE CENTER

The exhibition, "Artists of the Harvard Graduate Center" on view at the Buchholz-Reisinger Museum from January 22 to March 3, consists of works by those artists chosen by Walter Gropius and the Architects' Collaborative to design decorative projects for the new Graduate Center. These six artists - Josef Albers, Jean Arp, Herbert Bayer, Gyorgy Kepes, Richard Lippold and Joan Miró - are natives of six different countries but, inspite of their varied backgrounds, there is a certain homogeneity in their work. All are abstract in their approach to the visual arts and all have a keen feeling for decorative organization. At the same time, these men illustrate the wide variety possible within the framework of the abstract position.

Albers is in the "non-objective" tradition, using forms that are totally unconnected with nature and which are usually strictly geometric. The fragile beauty of the wire sculpture of Lippold is equally divorced from natural form. His art derives from the Constructivist movement of the late 1920's and 1930's. Kepes and Bayer have both painted non-objective works but in some of their recent canvases, natural form serves as a starting point for their abstract compositions. A light cheerful mood occurs in Bayer's work while in Kepes, a more somber note is struck. The fusion of the abstract tradition and Surrealism is seen in both Arp and Miró. Arp's wood reliefs in two planes and his later highly finished marbles and bronzes make use of the free forms that have had such an influence on American industrial design. They are restrained and calculated, quite unlike the gay free and slyly humorous paintings of Miró which combine Cubism and Surrealism with the fantasies of Paul Klee.

The image shows a page from a book or a document discussing the exhibition "Artists of the Harvard Graduate Center." Here’s a detailed summary of the text:

The exhibition, "Artists of the Harvard Graduate Center," is taking place at the Busch-Reisinger Museum from January 23 to March 3. It features works by six artists chosen by Walter Gropius and the Architects’ Collaborative for decorative projects at the new Graduate Center. The artists are:

• Josef Albers
• Jean Arp
• Herbert Bayer
• György Kepes
• Richard Lipchitz
• Joan Miró

Despite their diverse backgrounds, these artists share a commonality in their approach to visual art, which is abstract and emphasizes decorative organization. Each artist illustrates the range of possibilities within the abstract framework.

Albers is noted for his adherence to the "non-objective" tradition, using forms that are not connected to nature and are strictly geometric. Lipchitz’s wire sculptures are also divorced from natural forms, deriving from the Constructivist movement of the late 1920s and 1930s.

Kepes and Bayer have both created non-objective works, with Kepes incorporating natural forms as a starting point for abstract compositions and Bayer showing a more playful, cheerful mood in his recent works. Their abstract compositions have been influenced by a blend of traditions, including a touch of Surrealism.

Arp’s wood reliefs and later works in marble and bronze showcase free forms, which significantly influenced American industrial design. His art is characterized by restrained and calculated design.

Joan Miró’s paintings combine Cubism and Surrealism, evoking the fantasies of Paul Klee, with a more whimsical and free approach.

The image shows a page from what appears to be a printed document or a catalog describing an art exhibition. The exhibition is titled "Artists of the Harvard Graduate Center" and was on view at the Busch-Reisinger Museum from January 22 to March 3. The exhibition features works by six artists chosen by Walter Gropius and the Architects' Collaborative to design decorative projects for the new Graduate Center.

The artists listed are:

• Josef Albers
• Jean Arp
• Herbert Bayer
• György Kepes
• Richard Lippscomb (likely Richard Lipchitz)
• Joan Miró (likely Joan Miró)

The text explains that despite their varied backgrounds, these artists share a commonality in their abstract approach to the visual arts and a keen interest in decorative organization. It highlights the diversity within their abstract styles:

• Josef Albers is noted for his "non-objective" tradition, using forms that are disconnected from nature and strictly geometric.
• Richard Lippscomb's (Lipchitz) wire sculptures are also abstract and divorced from natural forms, deriving from the Constructivist movement of the late 1920s and 1930s.
• György Kepes and Herbert Bayer have painted non-objective works but incorporate natural forms in some of their recent canvases.
• Joan Miró's work is described as a fusion of the abstract tradition and Surrealism, characterized by playful and humorous forms.
• Jean Arp’s work includes wood reliefs and highly finished marbles and bronzes that draw on free forms and influence American industrial design, contrasting with Miró's more whimsical style.

The document provides insight into the different artistic approaches and styles of these six artists, emphasizing their contributions to the abstract art movement.

The image shows a page from a document describing an exhibition titled "Artists of the Harvard Graduate Center." The exhibition was displayed at the Busch-Reisinger Museum from January 23 to March 3. The exhibition featured works by six artists selected by Walter Gropius and the Architects' Collaborative to design decorative projects for the new Graduate Center.

The six artists mentioned are:

1. Josef Albers
2. Jean Arp
3. Herbert Bayer
4. Gyorgy Kepes
5. Richard Lippoid
6. Joan Miró

The artists are natives of six different countries but share a common abstract approach to visual arts with a keen sense for decorative organization. Despite their varied backgrounds, their works demonstrate a certain homogeneity.

Key points about the artists' styles:

• Josef Albers works in the "non-objective" tradition, using geometric forms that are disconnected from nature.
• Richard Lippoid's wire sculptures are also abstract and derived from the Constructivist movement of the late 1920s and 1930s.
• Herbert Bayer and Gyorgy Kepes have both painted non-objective works but incorporate natural forms into their abstract compositions, with Bayer's work having a cheerful mood and Kepes’ having a more somber tone.
• Jean Arp and Joan Miró blend abstract traditions with Surrealism. Arp's works include wood reliefs, marbles, and bronzes with free forms that have influenced American industrial design. Miró’s paintings are described as gay and humorous, combining Cubism and Surrealism with the fantastical elements of Paul Klee.

The image shows a page from a document detailing an art exhibition titled "Artists of the Harvard Graduate Center." The exhibition was held at the Busch-Reisinger Museum from January 22 to March 3.

The text discusses the collaborative effort between six artists chosen by Walter Gropius and the Architects' Collaborative to design decorative projects for the new Graduate Center. These artists are:

1. Josef Albers
2. Jean Arp
3. Herbert Bayer
4. György Kepes
5. Richard Lippold
6. Joan Miró

Despite their varied national backgrounds, the works of these artists share a commonality in their abstract approach and a keen interest in decorative organization. However, their individual styles show a wide range within the abstract art framework:

• Josef Albers works in a non-objective tradition, using strictly geometric forms that are not connected to nature.
• Richard Lippold creates wire sculptures that are also divorced from natural forms, deriving from the Constructivist movement of the 1920s and 1930s.
• György Kepes and Herbert Bayer both paint non-objective works, incorporating natural forms in their recent canvases. Bayer’s work is noted for its cheerful mood, while Kepes strikes a more somber tone.
• Jean Arp and Joan Miró blend abstract traditions with Surrealism. Arp's works are reliefs in two planes, utilizing highly finished marbles and bronzes, and they have influenced American industrial design due to their restrained and calculated style. Miró's paintings combine Cubism and Surrealism, featuring spontaneous and fantastical elements reminiscent of Paul Klee.

The image is a page from a book or catalog titled "Artists of the Harvard Graduate Center." This specific page discusses an exhibition held at the Busch-Reisinger Museum from January 22 to March 3, featuring works by artists chosen by Walter Gropius and the Architects' Collaborative to design decorative projects for the new Graduate Center.

The exhibition includes works by six artists: Josef Albers, Jean Arp, Herbert Bayer, György Kepes, Richard Lippold, and Jona Miro. These artists are from different countries but share a common interest in abstract art and a keen feeling for decorative organization.

The text provides a brief description of each artist's style:

• Josef Albers: Known for his non-objective tradition, using forms unconnected with nature and usually strictly geometric.
• Richard Lippold: His wire sculptures are described as fragile and divorced from natural forms, deriving from the Constructivist movement.
• György Kepes and Herbert Bayer: Both have painted non-objective works, but their recent canvases use natural forms as starting points for abstract compositions. Kepes's work is noted for a more somber mood, while Bayer's work is light and cheerful.
• Jean Arp and Jona Miro: Their work combines abstract tradition with Surrealism. Arp's wood reliefs and bronzes are highly finished and influence American industrial design. Miro's work is restrained and calculated, similar to the GW Tree, and combines Cubism and Surrealism with the fantasies of Paul Klee.

The page is part of a larger document, likely detailing the exhibition and the artists' contributions to the Harvard Graduate Center.

This is an image of an open book or document with text. The text is headed by the title "ARTISTS OF THE HARVARD GRADUATE CENTER." The document discusses an exhibition called "Artists of the Harvard Graduate Center" that was on view at the Busch-Reisinger Museum from January 22 to March 3, and it features works by artists chosen by Walter Gropius and the Architects' Collaborative for designing decorative projects for the new Graduate Center.

The text then lists six artists: Josef Albers, Jean Arp, Herbert Bayer, Gyorgy Kepes, Richard Lippold, and Joan Miró, who are described as native to six different countries. There are references to the consistency in their backgrounds and their abstract approach to visual arts, and the simultaneous keen feeling for decorative organization.

Further details note Albers’ adherence to the "non-objective" tradition and the mention of free forms devoid of natural form, echoing the Constructivist movement of the late 1920s and 1930s. The document goes on to mention Kepes and Bayer, comparing their works to natural forms as starting points for abstract compositions, a light cheerful mood in Bayer's work, and a more somber note in Kepes's pieces.

The last visible paragraph begins to discuss the blend of abstract tradition and Surrealism in the works of Arp and Kepes. The sculpture of Lippold is mentioned, as well as the influence of free forms on American industrial design, referring to Arp's wood reliefs and later highly finished marbles and bronzes. The text is cut off at the edge of the page and continues onto the next page.

The edges of the pages are slightly worn and the image also captures the shadow of the book, suggesting it is being photographed under direct lighting. The book or document lies on a plain surface which isn't fully visible in the image.

The image features a typed single-page document that appears to be an excerpt or description from a book or report. The title at the top of the page reads, "ARTISTS OF THE HARVARD GRADUATE CENTER."

The text describes an exhibition named "Artists of the Harvard Graduate Center," which is on view at the Busch-Reisinger Museum from January 22 to March 3. The exhibition consists of works by artists selected by Walter Gropius and the Architects' Collaborative to design decorative projects for the new Graduate Center.

The document mentions six artists - Josef Albers, Jean Arp, Herbert Bayer, Gyorgy Kepes, Richard Lippold, and Joan Miró - who hail from six different countries. Despite their diverse backgrounds, the document notes a homogeneity in their work, which is abstract in their visual arts approach and cohesive in decorative organization.

It highlights specific details about the artists' styles:

• Josef Albers follows a "non-objective" tradition, using strictly geometric forms disconnected from nature.
• Richard Lippold creates wire sculptures devoid of natural forms influenced by the Constructivist movement from the late 1920s and 1930s.
• Gyorgy Kepes and Herbert Bayer have recent canvases with natural forms as a base for abstract compositions, noting a light and cheerful mood in Bayer's work compared to a more somber note in Kepes's work.
• Jean Arp combines abstract tradition with Surrealism, using free forms in highly finished marbles and bronzes, emphasizing American industrial design with a restrained, calculated approach.
• Joan Miró's paintings blend Cubism and Surrealism with the fantastical elements reminiscent of Paul Klee.

The page is attached with a paperclip to other documents, and is part of a larger book or report, evidenced by the beige cover visible.

The image shows an open book displaying a page titled "Artists of the Harvard Graduate Center". The page contains a descriptive text discussing an exhibition held at the Busch-Reisinger Museum from January 22 to March 3. The exhibition features works by six artists chosen by Walter Gropius and the Architects' Collaborative to design decorative projects for the new Graduate Center. These artists are identified as Josef Albers, Jean Arp, Herbert Bayer, György Kepes, Richard Lippold, and John Kiro.

The text highlights that, despite their diverse national backgrounds, these artists share a commonality in their abstract approach to visual arts and a strong sense of decorative organization. It further elaborates on the individual styles and influences of each artist:

• Josef Albers is described as working within the "non-objective" tradition, using strictly geometric forms that are disconnected from nature.
• Richard Lippold is noted for his wire sculptures, which derive from the Constructivist movement of the late 1920s and 1930s and are equally divorced from natural forms.
• György Kepes and Herbert Bayer are mentioned as having painted non-objective works, with Kepes incorporating natural forms into some of his recent compositions. Bayer's work is characterized by a light, cheerful mood, while Kepes strikes a more somber tone.
• Jean Arp and John Kiro are described as fusing the abstract tradition with Surrealism. Arp's wood reliefs and highly finished marbles and bronzes utilize free forms that have influenced American industrial design. Kiro's paintings are noted for their restrained and calculated style, combining Cubism and Surrealism with the fantastic paintings of Paul Klee.

The page is printed on light-colored paper with a clean, formal layout, typical of an exhibition catalog or art publication. The text is typewritten, and the book's spine and edges are visible, indicating it is part of a bound volume. The overall presentation is professional and informative, aimed at providing context and analysis of the artists' work and the exhibition itself.

The image is a page from a book or a document that contains information about an exhibition titled "Artists of the Harvard Graduate Center." The page is written in black text on a white background. The text discusses the exhibition, which took place at the Busch-Reissinger Museum from January 23 to March 3. It mentions that the exhibition features works by six artists chosen by Walter Gropius and the Architects' Collaborative to design decorative projects for the new Graduate Center.

The artists mentioned are Josef Albers, Jean Arp, Herbert Bayer, Gyorgy Kepes, Richard Lippold, and Joan Miro. The text highlights the artists' backgrounds and their abstract approach to visual arts, emphasizing their decorative organization skills. It also provides a brief description of each artist's style and influences.

The page is part of a larger document or book, and the image shows only a portion of the page, with the rest of the text and content not visible. The page has a slightly blurry appearance, possibly due to the scanning or reproduction process.