Sentences with phrase «color field champion»

As the critic and Color Field champion Clement Greenberg put it, «The more closely color could be identified with its ground, the freer would it be from the interference of tactile associations.»

Not exact matches

Taking issue with Harold Rosenberg (another important champion of Abstract Expressionism), who wrote of the virtues of action painting in his article «American Action Painters» published in the December 1952 issue of ARTnews, [3] Greenberg observed another tendency toward all - over color or Color Field in the works of several of the so - called «first generation» Abstract Expressioncolor or Color Field in the works of several of the so - called «first generation» Abstract ExpressionColor Field in the works of several of the so - called «first generation» Abstract Expressionists.

From the «modular» shaped canvases of pristine color fields tapped from the minimal canon, to rudimentary line drawings on found cardboard and post-its, to saturated, unprimed canvases, unceremoniously stitched together, Bradley's evocations of exalted and disposable culture lend equivalency to the discrete elements as they champion the materials of their making.

At the same time, her almost decorative technique of making human and animal figures components of formal composition, through the arrangement, or insertion, of color fields within the pictorial space, credits Kudo as an aspiring successor of the modernist formal painting championed by Matisse»

By merging formalist color fields with more traditional subjects, Diebenkorn revived a legacy of figurative depictions championed by the likes of Henri Matisse and continued by a new generation of representative painters.

While New York and the world were yet unfamiliar with the New York avant - garde by the late 1940s, most of the artists who have become household names today had their well - established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

Thus, we could see in Stamos's paintings of the 1960s — with their expanses of near - monochrome pigment and spare deployment of geometric shapes — an affinity with color - field canvases by Jules Olitski, Helen Frankenthaler, and other painters championed by the formalist critic Clement Greenberg.

He soon moved away to champion a new group of artists who were emerging in the nation's capital, the Washington Color Field painters — a group including Kenneth Noland, Helen Frankenthaler, and Morris Louis who achieved what the critic considered highly admirable flatness by pouring thin paint directly into the weave of their canvases.

André Emmerich, an influential Manhattan art dealer whose gallery was an early champion of the 1950s and»60s school of Color Field painting and who also mounted important shows of pre-Columbian art, died yesterday at his home in Manhattan.

His art was championed by important curators, critics, and art dealers like Dick Bellamy and André Emmerich, and he immediately joined the ranks of other well - known Color Field painters like Kenneth Noland, Jules Olitski and Larry Poons as his work was placed in major museums.

Termed Color Field painting by the art critic and champion of American abstract painting, Clement Greenberg, it was defined and differentiated from Abstract Expressionism by an intense approach to color theory and a revolutionary application of pColor Field painting by the art critic and champion of American abstract painting, Clement Greenberg, it was defined and differentiated from Abstract Expressionism by an intense approach to color theory and a revolutionary application of pcolor theory and a revolutionary application of paint.

Maine writes: «To the extent that Crotty's work is about the fluid movement of color across the surface, it can be viewed in terms of Color Field painters such as Morris Louis and Helen Frankenthaler — whom Clement Greenberg championed in the 1960s — and of optical effects that are unabashedly «medium specific,» to use that critic's phcolor across the surface, it can be viewed in terms of Color Field painters such as Morris Louis and Helen Frankenthaler — whom Clement Greenberg championed in the 1960s — and of optical effects that are unabashedly «medium specific,» to use that critic's phColor Field painters such as Morris Louis and Helen Frankenthaler — whom Clement Greenberg championed in the 1960s — and of optical effects that are unabashedly «medium specific,» to use that critic's phrase.

Even Clement Greenberg, champion of Color Field painting and post-painterly abstractionists, with cowboy hat in tow, made an appearance during the installation of Deluxe.

«After Abstract Expressionism» itself reveals the kind of gamble inherent in this type of analysis, as its accuracy, success, and relevance can only be born out with time, and so it is that we can now see that the Color Field painting Greenberg championed at the end of «After Abstract Expressionism» did not ultimately prove to be the most fecund avenue of new artistic production in the»60s.

Wallace's 2012 Redactor series, for instance, features chaotic and multidimensional collaged paintings, which draw from art - historical styles such as those championed by the Color Field painters and Abstract Expressionists of the mid-20th century.

Critic Clement Greenberg, a champion of Abstract Expressionism and a force behind Color Field painting, helped to define the path.