| Thomas F. O'Meara: Modern Art and the Sacred (3066 words) |
 | I believe in the continuity of the life of forms, in the homogeneity of their evolution, and yet it is true that the appearance of a genius is unforeseeable, and that such an appearance puts everything in question, reversing the course of life, orienting everything to the new genius. |
| It was Couturier who, although he himself appreciated a greater variety in contemporary art than merely the drive towards abstract expressionism, saw that this ultimate form of modernity could not be set aside in contempt or compromise. |
| Couturiers work was a liberation from the immediate past in order to rediscover the greatness of the many pasts and of the many futures; his few, climactic years after 1950 anticipated the issues of our own creative but troubled times. |
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