By K Weitzmann
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5. , 4. , 12. 14 See, for example, Alloway, “Notes on ‘The Romantic Movement’,” Art International 3/7, 1959, 61–63. 15 Alloway, Nine Abstract Artists, 2. 16 Alloway, “Art News from London,” Art News 53/7, Nov. 1954, 54. 17 Alloway, “Art News from London,” Art News 52/9, Jan. 1954, 19. 6 Alloway and abstraction alloway and abstraction Nine Abstract Artists reveals three values held by Alloway and other members of the IG in those years. ¹ Second, he was liable to take the critical aspect of criticism very seriously.
The Matta review was not typical of his early-1950s criticism but a precursor of the direction his writing would take. Two other reviews from this period merit attention. In “Allegory and the Unconscious in Bronzino’s Exposure of Luxury” (Art News and Review, 1951), Alloway offers a detailed account of the painting’s iconography. His acknowledged sources include the “traditional” Warburgian art historical approach of Erwin Panofsky’s Studies in Iconology (1939). His interest in iconography in the early 1950s was fostered by his continuing involvement with the institutions where he was giving his docent talks: the National Gallery (until 1954), the Tate Gallery (which had introduced docent talks in 1952), and the Courtauld Institute of Art (from 1952 to 1955).
8 Walker, Cultural Offensive, 36. 9 Alloway, “Personal Statement” [one also by Robert Adams], Ark 19, Mar. 1957, 28. All subsequent quotes are from the same source. 10 Alloway, “Notes on Abstract Art and the Mass Media,” Art News and Review 12, Feb. 27–Mar. 12, 1960, 3. 11 Toni del Renzio, “Pioneers and Trendies,” 27. ), Pop Art, 31–32. ” The use of the term by the IG referred “solely to art manufactured for a mass audience. ‘Pop’ is popular art in the sense of being widely accepted and used, as distinct from Popular Art of the handicrafted, folksy variety” (Hamilton, Collected Words, 28).