dieser beitrag wurde verfasst in: englisch (eng/en)
verfasserin/verfasser: Henry-Russell Hitchcock
titel: The Place of Painting and Sculpture in Relation to Modern Architecture
+: in: Architects' Year Book 2, London 1947
«Here then is a real dilemma. Modern architects cannot consistently — even if their clients were ready to pay for it — utilise the work of the painters whom they most admire, and to whom they are most closely akin, in their buildings. Abstract painting, therefore, has remained enclosed in frames as rigidly as any other kind of painting, and draws no real support from the architecture to which it has lent so much strength.»
«I have been writing as if most modern painting were still Abstract; as if, to put it simply, Mondrian were still the most advanced painter and available for mural commissions, instead of having died a year or so ago at the age of seventy-five. But in the last twenty years there has been much painting that was not abstract in the way of the more geometrical post-Cubists to whom the modern architects owed their chief aesthetic lessons. Not only have several types of painting arisen, Surrealism, Neo-Romanticism, Social Realism, to name the chief, which are avowedly anti-abstract, but the work of the leading Abstract painters has grown less proto-architectural and more pictorial. Indeed, it is in relation to the dislocations of Surrealism, the nostalgic emotion of the Neo-Romantics, and the political and literary comment of the Social Realists that we can see how painting or sculpture might find a place again in relation to modern architecture.»