{"id":79,"date":"2019-03-21T04:09:48","date_gmt":"2019-03-21T04:09:48","guid":{"rendered":"https:\/\/sites.smith.edu\/loren-maciver\/?p=79"},"modified":"2019-05-04T04:44:36","modified_gmt":"2019-05-04T04:44:36","slug":"snowflake","status":"publish","type":"post","link":"https:\/\/sites.smith.edu\/loren-maciver\/2019\/03\/21\/snowflake\/","title":{"rendered":"Europe"},"content":{"rendered":"
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Paris: Arabesques of Beauty<\/em><\/div>\n
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Like most 20th century New York artists, the influence of Europe was a significant force in both MacIver\u2019s own practice and that of her social circle, even before her first trip to Europe in 1948. By the 1930s her work was being exhibited alongside that of the European modernists who were fleeing persecution in their home countries, as was the case in the 1936 MoMA exhibition \u201cFantastic Art, Dada, and Surrealism.\u201d The 1960s, however, were truly the time in which MacIver\u2019s life became personally enmeshed with Europe, as she and Frankenberg spent much of the decade living in Paris. They initially moved there after Frankenberg received a Fulbright grant to teach at the University of Caen in 1961, returning to New York in 1964. They soon went back to Paris, however, living there again from 1966 to 1970.<\/p>\n

The sketches and paintings below are only a very small portion of a much greater collection, as 1960s sketches of Europe took up a sizable portion of the archive upon which this website is based. Of the hundreds of possible images, I have chosen sketches and notes that I hope will help draw a broader picture of the ways in which the sights, sounds, and experiences of Europe enlivened the sense of wonder in MacIver\u2019s work.<\/p>\n

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