NEW 8 7 2023
Finding History & Losing History
Finding History & Losing History
LOSES:
Sandzen not being recognized at the ------
"But Birger Sandzén's significance is greater than his role as an important influence on other artists or even upon the artistic and cultural development of his adopted Kansas, as detailed in Emory Lindquist's study. The artist should be recognized, I believe, as a significant figure in the development of modernism in America in the early decades of the twentieth century. He was a painter whose perceptions of the power and dynamics of color ally him with those other Americans who have rightly being recognized as leaders in the introduction of postimpressionism in America – artist such as Arthur Dove, John Marin, Alfred Maurer, Marsden Hartley, Max Weber, and others.
"Sandzén's paintings would have qualified in style and stature for inclusion in the major exhibition held in 1986 at the High Museum of Art in Atlanta, The Advent of Modernism. I suspect his omission was owing to the relative unfamiliarity of his painting, a result of Sandzén's isolation in the American heartland and the limited spread of his influence within a regional rather than a national configuration. His absence was an oversight at the time of the show, and it appears more so now that Emory Lindquist has define Sandzén so well, his life and his art. Ultimately, Sandzén's greatest and most enduring contribution is his marvelous, inimitable art."
Sandzen not being recognized at the ------
"But Birger Sandzén's significance is greater than his role as an important influence on other artists or even upon the artistic and cultural development of his adopted Kansas, as detailed in Emory Lindquist's study. The artist should be recognized, I believe, as a significant figure in the development of modernism in America in the early decades of the twentieth century. He was a painter whose perceptions of the power and dynamics of color ally him with those other Americans who have rightly being recognized as leaders in the introduction of postimpressionism in America – artist such as Arthur Dove, John Marin, Alfred Maurer, Marsden Hartley, Max Weber, and others.
"Sandzén's paintings would have qualified in style and stature for inclusion in the major exhibition held in 1986 at the High Museum of Art in Atlanta, The Advent of Modernism. I suspect his omission was owing to the relative unfamiliarity of his painting, a result of Sandzén's isolation in the American heartland and the limited spread of his influence within a regional rather than a national configuration. His absence was an oversight at the time of the show, and it appears more so now that Emory Lindquist has define Sandzén so well, his life and his art. Ultimately, Sandzén's greatest and most enduring contribution is his marvelous, inimitable art."
College Electives
