Search

The group of dermatoses variously considered under the names neurodermatitis, atopic dermatitis and generalized or disseminated neurodermatitis are among the most resistant therapeutic problems in dermatologic practice. The remedies which have been tried with more or less indifferent results include symptomatic management, allergic studies and desensitization, actinotherapy, dietotherapy and oral and parenteral administration of many medicaments. With any of these methods treatment lasts for months, even years; yet some patients recover without any special treatment. Most of the patients with the severe conditions require psychiatric attention—perhaps all do—because of an underlying depression and emotional tension. It does not follow that all patients with neurodermatitis, the term preferred in this communication, need psychiatric hospitalization. Under the present status psychiatrists have been inclined to disregard cutaneous disturbances until they become a major distress to the patient and interfere with psychiatric care. Then a dermatologist is invited for the service of his specialty.

The article reviews the art exhibitions held in New York City which the feature the works by Philip Pearlstein at the Allan Frumkin Gallery from March 5-30, 1963, Alex Katz at the Thibaut Gallery from February 12-March 9, 1963 and John Button at the Kornblee Gallery from February 12-March 2, 1963.

The author discusses the criticisms on American Dream and the several artists associated with it. These artists were called the New American Dreamers and how they had contributed to the development of American arts. It includes James Rosenquist, Roy Lichtenstein, and Peter Saul. It also provides information on "The Store," by Claes Oldenburg.

The article reviews several exhibitions held in New York City for the year 1961, including the exhibition of sculptures by David Smith at Gerson Galleries from October 10-28, a display of Josef Albers' paintings at the Janis Gallery from October 2-28 and the exhibition of paintings by George Biddle at the Cober Gallery from October 3-28.

The article reviews the exhibition of paintings in New York City by Richard Lindner at the Cordier-Warren Gallery from October 3-21, 1961 and by John Graham at the Mayer Gallery from October 16-28, 1961.

This article presents an analysis of the origins and vicissitudes as well as the present condition of geometrical painting in the U.S. It discusses that geometric painting in the U.S. has been totally eclipsed by the rise of Abstract Expressionism. Moreover, geometric art has lost the center from which it could assert itself effectively.

The article discusses the issue on the relationship between the proto-literary development and a potential literary revival in art concerning the exhibition of R. B. Kitaj at the Marlborough-Gerson Gallery in the U.S. It stated that Kitaj is more literally involved with the anecdotal. However, in his paintings, Kitaj uses the memoranda to mortalize over history while mesmerized by the trivia he has unearthed.

The author reflects on the water color paintings of Paul Cézanne. He stresses that Paul's failure to realize his expression on his impressionism leads to the paradoxical vigor of his art. He also emphasizes that he uses Cézanne as an aid for the visualization of form and structure from the restriction on his contour. Further, he stresses that such style of his expression confuses the public.

The article profiles Larry Poons, a professional painter of optical art in New York City. Poons has reduced the contour to a series of dots which enables color to envelop and form a continuous field of space. Poons work the Nixes' Mate, a red-ground picture with blue lights included in the "Responsive Eye," at the Museum of Modern Art. Like most of Poons's previous works, four of the new pictures included in the Nixes' Mate have already been sold.

The article discusses about optical art and its broad types. It points out on the American-type and European-type of optical art. It cites the difference between the overt hard-core opticality of the European brand and the more covert American kind which is said to reflect the passage of Abstract Expressionism. It also discusses about hard-core optical art which involves optical illusions and includes invariably geometric constructions in wood, plastic, glass and metal.

The article focuses on the provincial principle of Edward Hopper, an American painter and printmaker. According to the author, Hopper's move toward art is considered as a personal predicament. However, the success of painter towards the ideas provides an aesthetic efficiency tendency that elaborates the provincial motive towards the painting. Moreover, several works of Hopper is also provided.

The article focuses on the increasing number of retrospective exhibitions held annually in New York. It explores the 1963 art exhibitions in museums and galleries, more or less as they occurred from September to June 1963. The art exhibitions were featuring the works of several artists, including Morris Louis, Hans Hofman, and Francis Medardo Rosso.

The article reviews the several art exhibitions in New York City in November 1963 to January 1964 which include "Twentieth-Century Master Drawings," the sculptures by Joseph Rifesser and drawings by Balthus.

The article reviews the exhibition of paintings by Dada artist Kurt Schwitters at the Galerie Chalette in New York City in 1963.

The article focuses on the works and artistic style of painter Ferdinand Victor Eugène Delacroix. The author cites several works of Delacroix, which according to him reflects exaggerated scale and made his art work void of rhetoric and sentimentality. Further, he cites that Delacroix works are divided into two categories reflecting different sizes, depending on their purpose and that his greatest defect as an artist lies on his inclination to develop a concentric kind of drawing.

The article discusses the problems concerning the Abstract Expressionism in Europe and the U.S. The prestige which American abstract painting has been enjoying throughout the Western world is beginning to appear more and more questionable. European abstract painting is most awful of its former self, a self not yet a generation in existence.