Originally associated with the Surrealist painters and poets during the 1950s, Cornell, like Arshile Gorky, was regarded by many as an anomaly,an artist on the fringes of the Abstract Expressionist movement rather than an integral part of it.Both the Abstract Expressionists and their critics sought to define the new painting and sculpture in terms of large scale and abstract vocabulary of images,neither of which suited Cornell.On the other hand,many of these same artists,de Kooning, Motherwell,and Newman among them, thought of Cornell as a colleague.Cornell agreed,noting that the only time he felt he belonged was in the Egan days.
Cornell shared with them an interest in the improvisational, the painterly, and the sublime that is as consequential to their work as scale and abstraction.Cornell may have seemed "out of his time"; perhaps he was born a few decades too late, or perhaps his art was a few decades too early. Beginning in the mid- to late 1980s, however, when movements were on the decline, Cornell's work emerged from a fashionable obscurity~helped considerably by his l980-81 exhibition at The Museum of Modern Art in New York~to find ever greater appreciation and consistently larger audiences.
規模と抽象化(scale and abstraction)はアートの専門用語かもしれませんが、調べても分からなかったので通常の意味で翻訳しました。