Sentences with phrase «abstract artists feel»

Not exact matches

The signature style of abstract artist Polly Norman, whose Prehistoric Ride Through a Lavender Sky is our Work of the Week, combines both those media to yield a dreamy, kinetic feel.

The Nova sector, dedicated to younger galleries and their artists, feels particularly rich thanks to unexpected pauses like the ethereal mix of Dawn Kasper's glowing, dangling sculptures and a monumental abstract painting by Lucy Dodd at David Lewis.

I have a feeling that the artists, my contemporaries, had this feeling in Chicago about that Artists Union and also about the abstract expressionists in Neartists, my contemporaries, had this feeling in Chicago about that Artists Union and also about the abstract expressionists in NeArtists Union and also about the abstract expressionists in New York.

Alongside music, abstract art is among the purest forms of expression, as it allows artists the freedom to communicate feelings and emotions unconstrained by forms found in objective reality.

This exhibition focuses on the analysis of a set of works from the Berardo Collection in which the artists have made free and creative use of line, form and colour, elements which are intrinsically linked to our lives, to all that we see, touch and feel and can be considered the main building blocks of abstract art since the beginning of the 20th century.

The Museum - organized companion exhibition Rebecca Warren: The Main Feeling will focus on the period of Warren's sculptures from 2003 to present day, a pivotal transitional phase in the artist's practice characterized by the emergence of an increasingly abstract style in her work.

One of the more difficult tasks for younger artists is to make abstract painting genuinely new — that is, sincerely and intelligently felt instead of performed (as with too much geometric work) or blurted out (as with too much AbEx - redux brushwork) like a rant in a family argument.

As an abstract artist, her only wish is for her art is art to convey a feeling, personalized for each viewer.

In the resulting work, the focus is not on the artist or the artist's feelings or subconscious emotions (as in abstract expressionism), but on the spectator, the spectator's absorption of visual stimuli and the theatricalities of observation (the latter exemplified in Frappez les Gradés).

Now, abstract expressionism were used by the powers that be to show for Americanism but this is not what the artists felt.

The project began with a select number of artists who were asked to recommend artists they felt were making strong abstract work, who were then asked to make their own recommendations.

Feeling Of Success L 1 is an original, large one - of - a-kind abstract painting signed by artist Peter Nottrott.

I was an abstract painter when I left Yale, and I was really aware, partially because minimalist artists had helped me articulate this, how standing in front of a painting or sculpture felt different depending on whether it's symmetrical or asymmetrical, if it towers over you, or it's smaller than your head how all of those things affect bodily feeling.

Neighbours and Making Space, two equally distinctive abstract sculptures, are by artists I'm not familiar with — Charles Hewlings and Jeff Lowe, respectively — but feel after seeing them that I should be.

Seen in contrast to abstract works in the show by, for instance, Sadie Benning, Wade Guyton and Vincent Fecteau, an artist whose work I've long admired — all, granted, coming at formalism from very different positions — the figurative works felt far more urgent.

«I think these artists felt there was no room within that realm — Abstract Expressionism and abstract painting.

Such feelings are very difficult to express with words alone; the artists in the exhibition have elected abstract visual expression as the best medium of representation for these complex and uniquely human realities.

Laurence Topham is given rare access to abstract artist Sean Scully at his studio in southern Germany, where he discusses the intimate struggle to paint and how it feels to be a father

The Swiss artist Urs Fischer, known mostly for his sculpture, has also made editioned «paintings» — laser prints of untitled landscapes or interiors that achieve a nearly abstract, cracked - mirror effect with uneven bands of red, white, or black that the artist adds by hand, using a fine paintbrush or felt - tipped marker.

A generation younger than the abstract Expressionists artists such as Leon Kossoff, Frank Auerbach and Lucian Freud shared with their New York colleagues a sense of existential angst, expressed through an extended process of scraping out and overpainting that reflected their quest to encapsulate intense feeling by sheer insistence.

I'm jumping right now because it was right after I joined the A.A.A. [American Abstract Artists]-- the reason I dropped out was because I didn't feel I wanted to do completely abstract work.

Although the surface is a riot of lines and abstract shapes, there is something somber about this work when compared with the more carefree shaped canvases of Elizabeth Murray — a difference that feels particularly emblematic of the 21st - century conceptual divide that these artists have crossed.

The Guggenheim retrospective shows that Kelly is one of a few artists working today who can make us feel that abstract painting has a future as something more than a hollow 20th century convention.

«I was conflicted,» the artist explains, «I was trying to find a clever way to approach painting because I felt like it wasn't acceptable to earnestly make abstract work, even though I was earnest about it.

In the late 1940s, Motherwell embraced the tenets associated with the Abstract Expressionist movement: the canvas as an arena in which the artist engages spontaneously and passionately in the physical and mental action of painting; the composition, often monumental in size, charged with feeling; the abstract forms suggesting deep, open - ended meanings.

Driving the brush through his body movements, his style of layered abstract ink - splashes and dynamic freehand brushwork in varying intensities of ink create forceful fields of darkness — «emotional explosions» that convey powerful feeling and give form to the artist's energy and exertion.

However, the next room shows Hepworth coming into her own; her mother and child piece successfully portrays the feeling of maternal intimacy, while other abstract sculptures flex Hepworth's artistic muscles; she is evolving as an artist.

By 1968, when Bridget Riley had become the first UK artist — and woman — to win the Venice Biennale international grand prize for painting, her dazzling abstract images had become so widely ingrained in the swinging 60s zeitgeist that she must have felt the need for new avenues.

Although the Schools provided a supportive environment, Hoyland continued to look elsewhere for the guidance he felt he needed, including one of the country's most influential abstract artists, Victor Pasmore.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paArtists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

Spring Feeling is an original, large one - of - a-kind abstract painting signed by artist Pol Ledent.

I loved the combination of readable sentence, brash color and vibrant brush strokes that meshed abstract expressionism, street art and narration that had a graphic novel feel (that is, if living the artist life was made into a graphic novel).

Nathan Baker is an American artist whose abstract works represent a mixture of different media and approaches (a drawing, painting, photography etc.) and which manage to incite an activated feeling of solitude.

Indeed all but Hofmann objected to the term «abstract expressionism,» which, they felt, linked them to the expressionist and abstract artists of preceding generations; by contrast they saw their work as arising out of unique acts of individual introspection.

The paintings in the show are related in feeling to minimal and monochrome abstract painting, presenting color and materials matter - of - factly, but according to the artist they were also partly prompted by the work of 15th century Sienese painter Giovanni di Paolo: «Giovanni's works are full of contradictions, full of visual opulence but also of things withheld.»

He considered his paintings to be the reflection of his nervous system projected on to canvas, and his opinion, expressed in 1953, that painting is pure intuition and luck, was the presage of the action painting and Abstract Expressionism that was soon to dominate the scene, although he rejected abstract art for himself, since he felt that it evaded the problem of the representation of the human figure which he regarded as the artist's principal challenge.

Her adeptness as a colorist is also apparent in Parsons» larger abstract paintings, the scale of which the artist determined was «out of a desire to get a feeling of an expanding world.»

Greenberg championed the work of New York's abstract expressionists, who produced a painting that he felt was fresher, more open and more immediate than those of post war French artists, who, he maintained, made over-designed, over-refined, too self - consciously «artistic» paintings.

A Hoyland abstract has been hanging in his office for the past six months, he said in the video, and he chose to open with the artist because he felt the paintings would «set the space off brilliantly» and vice versa.

Perhaps because of his training at the New York School of Art with Robert Henri (1869 - 1929), leader of the Ashcan School, Hopper - unlike other modern artists of his generation - did not feel any need to emphasize the abstract qualities of his paintings to make them look modern.

«Florida Feeling» is a NEW stunning abstract expressionist painting on Belgian linen canvas by one of Chairish's top selling artists, Trixie Pitts.

One of the problems is that when works like Heilmanns receive praise for their wit and ingenuity, it downgrades the expectations and ambitions of other abstract artists; so that now, any number of painters think that slapping a few lines and shapes around on a canvas, in a manner that vaguely represents something or other — place, memory, feeling, whatever — constitutes an abstract painting, in which it is the very ambiguity of the work which constituting the «abstract» bit.

I am aware of abstract artists who use science or mathematics; physical and visible sources; subconscious feelings; or from their own paintings to generate progressions.

Ultimately, Guston's Rome paintings tell us what he'd been so sorely missing during the period in which he worked as an abstract painter: pictorial space, historical ties, and a feeling of mattering, of addressing life in the artist's present moment.

Artists need to recapture the feeling of guileless wonder, serious exploration and pushing of known limits that great abstract painting used to possess in abundance but now often lacks.

I felt bad after I posted mine because Im dissing another artists work, who has more than enough pedigree, talent and authenticity.Im just personally not interested in the rescuing sludge, yellow ochre that seems endlessly deep etc. [alan davie review abstract critical].

They all seek a way of making a sincere and poignant abstract expression of feelings and ideas, but use various methods of distancing themselves from the myth of the lone artist pushing paint around with their heroic brush; in fact none of these artists use a brush per se.

A lot of people think art is expensive or out of their reach, but it can be as easy as framing your children's favorite artwork for a whimsical feel or grabbing a canvas and some paint and bringing out your inner artist (like the large abstract hanging in our living room gallery wall!).