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Gallery chronicle.(Art)(Edvard Munch, William Kentridge, William Nicholson, Jake Berthot, Lois Dodd)

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| March 01, 2006 | Panero, James | COPYRIGHT 2006 Foundation for Cultural Review. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Once upon a time modern art had a third dimension: a mood-axis. In 1890s Europe, Symbolism plumbed the depths of myth and the macabre in order to dive beneath the surfaces of Impressionism. At the same moment in America, Tonalism whipped up a haze of glittering pigment in the landscapes of the Hudson River School to reveal an underlying spiritualism. Neither movement was long for the twentieth century. In the cold war of Mondrian versus Duchamp, two dimensions versus no dimensions, the third dimension went the way of the old Pennsylvania Station: flattened and dumped in art's Meadowlands.

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Source: HighBeam Research, Gallery chronicle.(Art)(Edvard Munch, William Kentridge, William...

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