Abstract
In this book chapter, the “liberal” Soviet art historian Andrei Chegodaev, offered an extraordinarily well-informed, if politically slanted survey of contemporary art practice in the USA. He identified “formalism,” which is to say abstraction as the great enemy of the visual arts and favors the work of realist painters like Andrew Wyeth, Anton Refregier, Joseph Hirsch, Waldo Peirce as true American art. ion, Surrealism, and Expressionism are anathema to Chegodaev, who pointed to John Marin as a tragic case of a talented painter whose worked evolved from the model of Cezanne towards Expressionism: in Chegodaev’s words, a “tragically hopeless example of an undoubtedly talented artist’s gradual loss of any connection with real life.”
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