Sentences with phrase «american early modernism»

Future topics include American Early Modernism, Art Nouveau, Visionary Art, Landscape Painting, and Monumental Sculpture.

Past and future topics include American Early Modernism, Art Nouveau, Visionary Art, Landscape Painting, and Monumental Sculpture.

Not exact matches

Religious modernism of the type which flourished at the University of Chicago early in the century was in the American spirit.

Her boldly colorful geometric compositions point to influences from early American and European Modernism, dhakas — richly brocaded Tibetan paintings — and African masks.

«I've had a long fascination and interest in American Modernism and American landscape painting in the 19th century and early 20th century,» Martin said.

This exhibition will shed scholarly light on the aesthetic and intellectual concerns undergirding the development of this important strand of early American modernism to explore the origins of its style, its relationship to photography, and its aesthetic and conceptual reflection of the economic and social changes wrought by industrialization and technology.

Also featured in the exhibition will be a series of paintings based on memorabilia from the American punk scene of the 1970 - 80s and other works that use early Modernism as a starting point to address topics such as fascism, sex and boredom, which the artist likens to «Suprematism on poppers.»

The 1940s in New York City heralded the triumph of American Abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via great teachers in America such as Hans Hofmann from Germany and John D. Graham from Ukraine.

Cézanne's influence on early 20th - century American photography is examined for the first time with examples by Alfred Stieglitz, Edward Steichen, Paul Strand, and others who played a pivotal role in introducing modernism to America.

The museum's collection includes prominent holdings of 19th - century landscape and still life, American impressionism, early modernism, geometric abstraction, abstract expressionism, minimalism, and over 3,000 photographs spanning the history of the medium.

He helped found «Spiral,» an African American collective in 1963, but his roots lie in early American Modernism.

One could well go further and see her as a bridge from early American Modernism to the rebirth of painting today.

Gomes belongs to a generation of Latin American artists that includes Beatriz Milhazes (b. 1960), Ernesto Neto (b. 1964) and Adriana Varejao (b. 1964), but her work also contains qualities found in the Neo-Concretism of the early 1960s, when a Brazilian group of artists — such as Lygia Clark (1920 — 88), Lygia Pape (1927 — 2004) and Helio Oiticica (1937 — 80)-- broke away from traditional Latin American modernism in favor of a more integrated and experiential form of geometric art.

The 1940s in New York City heralded the triumph of American abstract expressionism, a Modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, surrealism, Joan Miró, cubism, Fauvism, and early modernism via great teachers in America like Hans Hofmann and John D. Graham.

Scully employs a reductive vocabulary of thick horizontal and vertical bands of color, which perform an interplay of mass, light and shadow, through which he reconciles the ordered character of early European Modernism, with its ideals of harmony and spirituality, and late American Modernism, with its use of less harmonious, expressionistic compositions.

Born in 1892 to two artists, he inherited their admiration for Robert Henri and early American Modernism — really a somber realism with splashes of color.

Like much early American Modernism, they care little for the late - modern disdain of «mere decoration.»

Known as the mother of American modernism, Georgia O'Keeffe played a pivotal role in the development of American contemporary art and its relationship with European movements of the early twentieth century.

Strongly influenced by twentieth - century icons Kazimir Malevich, Piet Mondrian, and Henri Matisse, Quaytman's work reveals a fascinating interplay between earlier strands of European Modernism and American postwar abstraction.

The Delaware Art Museum's collection of American art spans more than two hundred years, from the early 19th century to Early American Modernism, Abstraction, and Postmoderearly 19th century to Early American Modernism, Abstraction, and PostmoderEarly American Modernism, Abstraction, and Postmodernism.

In fact, Dove's paintings are a salutary reminder that the history of early American modernism is, contrary to myth, not wanting for major artists.

We have also added to our collection of American modernism through two strong works; from the Alex Katz Foundation, we received an early landscape painting by Marsden Hartley, Late Fall, Maine (1908) and from Audrey M. and Carlton D. Leaf» 52, we were gifted a watercolor by Andrew Wyeth, the haunting Door to the Sea (1953).

Georgia O'Keeffe, also known as the mother of American modernism, played an extremely important role in the development of American contemporary art and its relationship with European movements of the early twentieth century.

Opening: «Folk Art and American Modernism» at the American Folk Art Museum The American Folk Art Museum may be in smaller quarters after selling its Midtown building to MoMA, but it proves that it can still pack a punch with this show about the relationship between the development of the modern art movement in America and the folk art collections of many modernists in the early part of the 20th century.

Selected from the artist's estate and public as well as private collections, this exhibition provides the first occasion to view Rothko's contribution to early American modernism as a precursor to his unprecedented transition into abstraction.

He was considered both an insider and outsider, caught in a racially divided environment and edged to the margins of American modernism despite significant early exhibitions at renowned institutions such as the Museum of Modern Art and features in national press outlets.

Despite significant early exhibitions at renowned institutions such as the Museum of Modern Art and features in national press outlets, Lawrence was considered both an insider and outsider, caught in a racially divided environment and edged to the margins of American modernism.

By the 1930s, European and American Modernism was making slow but steady inroads into Texas through a few well traveled and educated early converts to radical art forms of abstraction.

Symposium subjects included, among other things, discussions of Alfred Stieglitz as a major proponent and supporter of early American Modernism, the ways in which art critic Clement Greenburg's definition of Modernism shaped thinking about this issue for generations yet was exclusive to issues of race, gender and politics, the role of photography figured prominently into the dissemination of the term «modern,» and the many ways photography has played a major role in shaping the history of Modernism in America.

Like many younger artists, he might have leaped straight from the clarity of an earlier Modernism to American Pop Art and the graphic novel, while some of those floating fields of color do have a parallel in Hans Hoffman.

The author of The Emergence of Cinema: The American Screen to 1907 (1990), he has contributed to numerous exhibition catalogs including Moving Pictures: American Art and Early Film, 1890 - 1910 (2005) as second author and The Armory Show at 100: Modernism and Revolution (2013).

In eighty - eight striking paintings and sculptures, Crosscurrents captures modernism as it moved from early abstractions by O'Keeffe, to Picasso and Pollock in midcentury, to pop riffs on contemporary culture by Roy Lichtenstein, Wayne Thiebaud, and Tom Wesselmann — all illustrating the complexity and energy of a distinctly American modernism.

The gallery handles artwork from early 20th - century movements including American Modernism, African American Art, Social Realism, Regionalism, Magic Realism, and Precisionism by such artists as Milton Avery, Thomas Hart Benton, Oscar Bluemner, Paul Cadmus, Arthur Dove, Marsden Hartley, Edward Hopper, Rockwell Kent, John Marin, Reginald Marsh, PaJaMa, Fairfield Porter, Ben Shahn, and others.

Biala's aesthetic is a unique synthesis of early French Modernism and American Abstract Expressionism made manifest by bold brushstrokes combined with a spare, economic domestic intimacy.

But he's well versed in early American modernism, one of the collection's strengths.

This exhibition celebrates the history of Latin American modernism and explores colonial history, landscape painting, symbolism, depictions of indigenous peoples and customs - as interpreted by renowned artists from the 1800s to the early 2000s.

His early work focused on subjects from American folklore, his style a combination of earlier movements and modernism.

These works cover three periods in the history of neo-avant-garde art ranging from artists from the late forties to the early sixties (Piero Manzoni, Lucio Fontana, Martial Raysse), the American minimal art from the fifties and sixties (Carl Andre, Sol LeWitt, Dan Flavin) and the post modernism from the mid-seventies and eighties (Anselm Kiefer, Sigmar Polke, Keith Haring).

Avery's early work incorporated elements of Impressionism, but his smooth planes of color and combination of figuration and abstraction would make him an archetype of American Modernism, prefiguring aspects of Color Field painting by years.

As the catalogue explains, Diebenkorn forged strong allegiances to sources in American art and popular culture before fully responding to Matisse's influence; the teacher who introduced him to Sarah Stein was in fact a disciple of Edward Hopper, and it was the example of Hopper's hard - won, vernacular images that guided Diebenkorn's early engagement with the harsh literalism of the American scene, which was often hostile to modernism.

As a radical re-evaluation of art history from the early twentieth century to the late 1960s, this brilliant new account of American modernism is a must - read for students and scholars of art as well as all those interested in modernism and its wider cultural history.

By making no effort to reimagine early American modernism, it is most notable as evidence of the Modern's current indifference to the field.

Created shortly before Davis» death in 1964 and acquired by the museum just three years later, Blips and Ifs is both an example of the Amon Carter's deep Davis holdings and a reminder that the museum, «even from very early on, was reaching toward this understanding of the emergence of American modernism and its development,» Walker says.

Considered one of the earliest American abstractionists, Carl Holty is known for his painting style that combines European modernism and abstract expressionism.

It contains a large number of paintings of the American West as well as significant examples of works from the Ashcan School, early American modernism, Regionalism, Social Realism, Abstract Expressionism, Color Field, Pop, Minimalism, Post-Minimalism, and Conceptual and Performance art.

The collection of American art ranges from the colonial period to the present includes 19th & 20th century masterpieces of American landscape and realist painting, with important works by Asher B. Durand, Winslow Homer, and Lily Martin Spencer; early 20th - century works of realism and modernism, including masterpieces by Thomas Hart Benton, Elizabeth Catlett, Stuart Davis, Jacob Lawrence, Georgia O'Keeffe, and John Sloan; a major collection of sculptures by Gaston Lachaise; and late - 20th century masterworks by Josef Albers, Helen Frankenthaler, Hans Hofmann, Isamu Noguchi and Jackson Pollock.

In the «Black» paintings (included in the Museum of Modern Art's 1959 Sixteen Americans exhibition) and the «Aluminum» paintings which followed (his earliest shaped canvases, exhibited in this first solo show at the Leo Castelli Gallery in 1960) the picture's surface echoed and reiterated its depicted shape, reinforcing modernism's notion of painting's flatness as it sought to establish the painting as an object.

Smaller in scale than those paintings of her 2014 debut exhibition, the new work matches in surreal ebullience their predecessors, praised by Roberta Smith as «big, boisterous semi-abstract canvases (that) exude an impressive confidence... like close - ups of billboards or a tour through some outsize undergrowth in which nature has merged with several brands of abstraction, from early American Modernism to Color Field painting... (Silva) is already is tackling a lot with an astuteness and aplomb that make her a painter to watch.»

Pippin celebrated his connection to folk art, showing with other major folk artists of the time like Grandma Moses, while moving successfully into the milieu of early 20th - century American modernism by also showing with artists Jacob Lawrence and Charles Sheeler, Wolfe said.

But there was this place in between early American modernism and the New York School that had not been touched — except for Irving Sandler's first chapter of his first volume that he wrote on the New York School, The Triumph of American Painting, in which he mentioned how crucial was the role of the AAA to the establishment of American abstract art.