Sentences with phrase «expressionist idea of the painting»

They were illuminated like stained glass, from the back, which goes back to an Abstract Expressionist idea of the painting coming alive, anthropomorphizing, to become like two eyes in a face.

Not exact matches

Comparing Motherwell and Wool, Schor writes: «thinking back on the echoes in Wool's paintings of Rauschenberg and Polke and a host of other artist going back to the Abstract Expressionists and to Cobra, two things seem clear: the facility of Wool's marks, including in particular those moments when he seems to be riffing off the idea of wiping out a drawn loop of paint, is only simulacral of the notion of discovery within a painting.

His emphasis on discovered or spontaneous correlations between materials, rather than a prescribed idea of composition, have often prompted descriptions of his work as three - dimensional Abstract Expressionist paintings.

Just as much as I was able to go against the Abstract Expressionists» idea of subject matter becomes the content and the content becomes the form, I created my own style to be the content of the painting.

In the 1940s, abstract expressionists introduced the idea that painting was an action, and the completed object was not the art, but a record of the art.

Mitchell worked for the most part on large - scale canvases and multiple panels, striving to evince a natural rhythm that emanated from the expansiveness of gesture and from uninhibited use of color; Chamberlain's emphasis on discovered or improvised correlations between material and color rather than a prescribed idea of composition have often prompted descriptions of his work as three - dimensional Abstract Expressionist paintings.

Minimal art rejected the idea of relational, and subjective painting, the complexity of abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of action painting.

By the early 1960s Minimalism emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the idea of relational, and subjective painting, the complexity of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of Action painting.

The idea of movement — whether it is the physical movement the artist uses to make a painting, or the sense of movement created in a composition — is an influential element in the work of the Abstract Expressionists.

Where the Abstract Expressionists had still been wedded to the modernist concept of the masterpiece, the postmodernists suggested that there were alternative ideals and possibilities to the Greenbergian idea of the perfect painting.

You don't need to know this — from room to room it's very evident, you can see it with your own eyes in the varied ideas and artistic approaches: Roy deCarava's intoxicating photographs of Malcolm X and Ornette Coleman, or David Hammons's response to Black Panther founder Bobby Seale's trial in 1970, abstract expressionist paintings by William T.Williams and Frank Bowling, or Faith Ringgold's amplified vision of what she witnessed in New York, inspired by Guernica,

By the early 1960s Minimalism had emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the idea of relational, and subjective painting, the complexity of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of Action painting.

One of the great figures of the abstract expressionist movement, Barnett Newman was an intellectual, developing his ideas in his painting, sculpture, and writing.

The history of Irish art in the twentieth century shows that landscape painting was closely entwined with Irish nationalism and the search for an «Irish» identity, although artists pursued these ideas in quite individual ways: Jack B Yeats (1871 - 1957) through his intense expressionist landscapes populated by unmistakably Irish figurative icons; Paul Henry (1876 - 1958) and James Humbert Craig (1878 - 1944) through their outstanding renderings of sky, sea, turf and light in their West of Ireland views.

He emerged in the early 1980s as painting suddenly became in vogue again for depicting ideas as opposed to expressing emotions, the bailiwick of the abstract expressionists of the»40s and»50s.

While in New York the artist's ideas of space, time, energy, the cosmos and how Matta brought them together on canvas gave birth to the New York School of Painting, the Abstract Expressionist Movement and influenced artists such as Robert Motherwell and Arshille Gorky.

Her interest in the work of Edvard Munch and Egon Schiele particularly inform Emin's paintings, monoprints, and drawings, which explore complex personal states and ideas of self - representation through manifestly expressionist styles and themes.

With the abandonment of symbolic meaning, first by the French Impressionists and then by the American Abstract Expressionists, landscape painting would become a vehicle for formal innovation — a representational strategy and an idea, not a specific geography.

1970); S. Guilbaut, How New York Stole the Idea of Modern Art (1983); W. C. Seitz, Abstract Expressionist Painting in America (1983); F. Frascina, ed., Pollock and After (1985); D. Anfam, Abstract Expressionism (1990); S. Polcari, Abstract Expressionism and the Modern Experience (1991); A. E. Gibson, Abstract Expressionism: Other Politics (1997); D. Craven, Abstract Expressionism as Cultural Critique (1999).

Rock, Paper, Scissors examines Abstract Expressionism, a movement most associated with oil paint and canvas, through non-painterly means, and Abstract Expressionist New York: Ideas Not Theories: Artists and The Club, 1942 — 1962peers into the activities of the legendary Greenwich Village social organization that became a forum for artists of all sorts to trade thoughts on topics ranging from Jungian psychology to Zen Buddhism.

Currently the subject of a show at the Clyfford Still Museum in Denver, the «replicas,» the Abstract Expressionist said, were ways of working through ideas so important, they couldn't be pinned down in a single painting.

It's about an idea of New York postwar Abstract Expressionist painting.

MHI throw it out to you as a possibility, just as I floated the idea that your paintings of the»80s share some commonalities with the expressionist paintings of that decade.

While they had «little sympathy» for Greenberg's formalism they felt «Rosenberg had carried the idea of Action Painting to an untenable extreme and had mis - stated how [Abstract Expressionists] actually worked.»