TABLE OF CONTENTS

PRINT April 1979

Toward a Theory/Practice of Painting in France

Dialectics is the teaching which shows how opposites can be and how they happen to be (how they become) identical—under what conditions they are identical transforming themselves into one another—why the human mind should take these opposites not as dead, rigid, but as living, conditional, mobile, transforming themselves into one another.1

AT THIS DISTANCE (PARIS) it can perhaps be said that the great achievements of American painting in the postwar period were, first of all, to arrive at a genuinely abstract form and, secondly, to have developed the allover technique. The key European figure in this connection is Mondrian, who was able only with great difficulty to work toward these objectives. The break with an art derived from nature in favor of a new art based on the investigation of the plastic elements specific to painting was achieved only at the cost of a long hard struggle with

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