000			01583nam a2200241 a 4500
001			066209
003			BSMA
005			20231026120519.0
008			231026t19751975---a----------000-u-eng-d
020			_a978096741904
082	0		_a759.7 FEC
100	1		_aBalcomb, Mary N.
245	1	0	_aNicolai Fechin _c/ Mary N. Balcomb
260			_aFlagstaff, AZ _b: Northland Press _c, c1975
300			_a167p. : _cillus.: _g31 cm
520			_aIt is becoming increasingly difficult to evaluate the work of some­one like Fechin, who worked with ap­parent disregard for the developments in art during his lifetime and seemed to pursue an already predictable direction. A man who was a contemporary of Marsden Hartley, Georgia O’Keefe, John Marin (to name some of the Americans with whom he was in contact during his years in Taos) and of Picasso and Ben­nard, to be so consistently reluctant to organize forms in any but the most ob­vious combinations, to be content with the colorful illustration of what he actu­ally saw, seems to denote, at the very least, a painter whose imagination was bound by the limits of the real and who refused the basic freedoms that paint­ing offers. Successful in this country as a portrait painter and later as a teacher, he apparently was never willing to push his obvious talents beyond very pro­scribed limits.
546			_aEnglish
586			_aSelected one of the Best Award Prestigeous Rounce & Coffin
600			_aFechin, Nicolai Ivanovich, _d(1881-1955)
650			_aPainter _zRussia
700	1		_aBranham, Eya Fechin
942			_cMO
999			_c264248 _d264248