Sentences with phrase «european surrealism»

Even abstract expressionism, the first American art movement to achieve international attention, was a synthesis of European surrealism and abstraction with American experience.

«Baziotes, Gottlieb and Stamos... [t] hey represent the bridge from European surrealism, how that modernist ideal of depicting unconscious experience becomes the DNA that makes American post-war abstract expressionism possible.»

They represent the bridge from European surrealism, how that modernist ideal of depicting unconscious experience becomes the DNA that makes American post-war abstract expressionism possible.

Meanwhile, European surrealism had already affected younger artists even before the arrival of the surrealists themselves.

Influenced by automatic drawing that he picked up from European surrealism and pushing boundaries withlarge fields of flat colour.

In the 1940s her New York gallery was both a vitrine for European surrealism — a key influence on the American avant - garde — and hosted early shows for Pollock, Rothko, Baziotes and Motherwell.

Mr. Kelly was a true original, forging his art equally from the observational exactitude he gained as a youthful bird - watching enthusiast; from skills he developed as a designer of camouflage patterns while in the Army; and from exercises in automatic drawing he picked up from European surrealism.

Although Baziotes shared their interest in primitive art and automatism, his work consistently displayed stronger affinities with European surrealism.

Unlike the abstract expressionists, who were immersed in the automatism of European surrealism, the traditional figure was very much Kline's starting point.

Featuring artists such as Alexander Calder, Joseph Cornell, Man Ray Kay Sage, and Dorothea Tanning, Surrealism in America showed the pervasive influence of European surrealism in America while demonstrating artists» diverse responses to it.

Not exact matches

The pull that surrealism had on Margo in Europe strengthened in the United States, where the style was gaining momentum, thanks to an influx of artists fleeing the rising tide of European fascism.

By the early 1940s the main movements in modern art, expressionism, cubism, abstraction, surrealism, and dada were represented in New York: Marcel Duchamp, Fernand Léger, Piet Mondrian, Jacques Lipchitz, André Masson, Max Ernst, André Breton, were just a few of the exiled Europeans who arrived in New York.

... then again the European and then Marisol who sort of was of my taste for extravagance or back to surrealism, to dada.

Pollock's art during these years reveals his effort to come to grips with advanced European developments, particularly cubism and surrealism.

Youngest of his generation's greats, he was also the most literate, the most eloquent, and the most fully reflective of the movement's diverse roots in European modernism, including not only surrealism but also Matisse.

Then it's one flight up to early abstraction, Dada and surrealism, postwar European art, abstract expressionism and pop art.

Influenced in his use of colour, like Rothko, by the abstract artist Milton Avery (1885 - 1965) known as the «American Matisse», Gottlieb's surrealism received a boost in 1940 with the arrival in America of European Surrealists fleeing the German Occupation of Paris.

Most scholarship has viewed Smith's early work as developing in a linear fashion, from the European influences of Picasso and cubism in the 1930s; to a figuratively based, highly detailed, American surrealism in the 1940s; to a lyrically abstract, expressionist expansiveness in the 1950s; culminating with the seemingly disconnected breakthrough embodied in the reduced, geometric monumentality of his final works.

This move proved to be a rather big step in his career, as it helped Matta to establish the European ideas of surrealism in America.

One of the finest - and most personal - collections of modern art in the United States, it excels in surrealism, abstract expressionism and such American neo-Dada and pop artists as Jasper Johns, Robert Rauschenberg, Twombly and Andy Warhol, and their European peers.

Each of these artists combined the predominant avant - garde influences of cubism and surrealism (imported to New York by European exiles from World War II) as well as the writings of Carl Jung, Sigmund Freud, and Jean - Paul Sartre with their own personal concerns to create the distinctive works for which they are best known.

By the 1930s, Graham had gained notoriety in New York art world circles as an emissary of European modernism, particularly surrealism.