William Waldron

FROM THE CATALOG of the Waldren exhibition at the Biosca Gallery of Madrid in October 1962.

The monochrome white reliefs by the American artist William Waldren, formed of a mixture of polyester, sand, and plaster, reveal the unique capacity of the visual image to convey a poetry of silences.

Ordinarily we tend to think of silence as no more than an absence of sound, a void, a gulf of emptiness, failing to perceive that silence is a domain as varied as the things of this world. How different, how separate and distinct and particular are the silences of dreams, of sorrow, of embraced lovers, of

print July 1962

Franz Kline

PAINTERS AND SCULPTORS ARE a fortunate breed in that it is not uncommon for these creators of visual imagery to realize their full potentialities after they hit their fifties. Indeed, it is not uncommon for painters and sculptors to reach the apogee of their creative powers at some point well beyond the half-century mark.

The roster of painters and sculptors who matured in creative scope and depth with advancing years reads like a “Who’s Who” of blue-chip masters. Some of the names that come racing to mind are Goya who lived to a vigorous 82, Michelangelo to 89, Edvard Munch to 81, Renoir to 78,