“No one has digested Cubism more thoroughly than Hofmann, and perhaps no one has better conveyed its gist to others. Yet, though Cubism has been essential to the formation of his art, I doubt whether any important artist of this postwar era has suffered by it as much as Hofmann has. It is what I would call his “Cubist trauma” that is responsible, among other things, for the distractedness of his art in its abstract phase. Without the control of a subject in nature, he will too often impose Cubist drawing upon pictorial conceptions that are already complete in themselves; it will be added to, rather than integrated with, his redoubtable manipulations of paint. It is as if Hofmann had to demonstrate to himself periodically that he could still command the language with which Braque and Picasso surprised him fifty years ago in Paris. Yet the moments of his best pictures are precisely those in which his painterly gift, which is both pre- and post-Cubist, has freest rein and in which Cubism acts, not to control, but only to inform and imply, as an awareness of style but not as style itself.”
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