| Abstract: | Abstract The importance of the artist Wols (Alfred Otto Wolfgang Schulze) as a forerunner of international tachism painting of ‘Art informal’ has long been recognized. It is surprising, therefore, that Laszlo Glozer's new study, Wols Photograph, is the first monograph devoted to the artist. Even more surprising, perhaps, is the author's concentration on Wols' activity as a a role usually not identified with his high art-historical position. Actually, Glozer is at pains to characterize the artist as a tragic, creative unity; we realize as we read the admirable text that the author might have taken any aspect of Wols' production as his point of departure and ended essentially with the same picture of the artist. ‘Wols’ art is autobiographical', Glozer writes. ‘Behind the transformations of the expressive forms, it remains self-expression to the end. This unconditional situation is constant.’ Wois himself is responsible for the remark, ‘il faut savoir que tout rime’, and Glozer discovers the truth of the dictum, not only for the totality of Wols' art but for his life as well. |
