Sentences with phrase «informel abstract»

Not exact matches

Most viewers are familiar with the notion that Informel and Abstract Expressionism were indebted to Japanese and Chinese calligraphy, but too little attention has been paid in the West to the emergence of a vibrant abstract practice in postwar East Asia.

Looking at painters who came to prominence in the 1960s,»70s and»80s, this book shows how abstract painting has developed in the wake of postwar movements such as Art Informel.

The painterly style also emerges from expressionist painting movements of the time, including CoBrA Group and Art Informel, important movements in art in Europe near the time Golub lived in Paris, and abstract expressionism lurks in the strokes and the scrapes too.

For Zero, the use of monochrome served multiple purposes: it was a separation from the expressionistic and abstract works of Art Informel and other earlier postwar movements.

The exhibition, presented in collaboration with the Fondazione Lucio Fontana, brilliantly displays Fontana's extraordinary body of work from 1899 to 1968, including pivotal categories such as primitive and abstract sculptures, drawings, polychrome ceramics, Spatialist works, punctured canvases, Art Informel works, installations, Tagli (cuts), Nature, Fine di Dio, Olii, Venezie, Metalli, and Teatrini.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

With his gestural abstract painting, K. O. Götz was the most important representative of the German Informel movement.

This exhibition focuses on the common traits of Informel, post-war Germany's most important abstract art group, and the different explorations and choices these artists made as they confronted their personal artistic ideals.

The postwar years saw Capogrossi paint his first abstract works, and by the end of 1949 he had developed a distinct post-Cubist vocabulary of his own, formalizing a language of signs that involved the arrangement of comblike matrices in compositions that were at once logical and free, aligning him closely with the Art Informel movement.

Art Informel in Vienna European abstract paintings from the post-war Art Informel movement take centre stage at Dorotheum's Contemporary Art sale in Vienna on 31 May.

Karel Appel (1921 - 2006) Dutch abstract painter, gesturalist; member of COBRA & Art Informel.

In post war decades, the abstract expressionism slid into different fields of op art and geometric abstraction in United States, while the European answer was the invention of lyrical abstraction, art informel and political abstraction in the works of CoBrA members Karel Appel, Constant and Asger Jorn.

Despite these experiences, Tàpies was swiftly drawn to the lyrical abstraction known as art informel, especially after 1953, when he experienced the American equivalent, abstract expressionism, at the time of his first one - man show in New York.

Regarded by critics as one of the most important members of the Art Informel movement - the European version of abstract expressionism - the Portuguese - born French artist Maria Helena Vieira da Silva was famous for her intricate brand of abstract art, as exemplified by canvases like Theatre de Gerard Philipe (1975, Unterlinden Museum, Colmar).

Like Tachisme, the COBRA group was closely related to the gesturalist wing of the broader European abstract expressionist school known as Art Informel, and derives its style from the early expressionist movement in Germany.

In Europe, the answer was Art Informel, which was an umbrella term for a new style of formless abstract painting.

The French painter Georges Mathieu was a leading exponent of Art Informel (the French version of abstract expressionism), and is best - known for his spiky calligraphic - style abstract paintings characterized by sweeping gesturalist brushwork, as in Untitled (1959, Solomon R Guggenheim Museum, New York).

A similar type of fragmentation was occurring in Europe: the main abstract expressionist movement Art Informel, broke up into numerous different styles and tendencies, such as Tachisme, Art Non Figuratif, Abstraction Lyrique, and others.

This solo show gained him a reputation as one of the top young 20th - century painters, and a key exponent of Tachisme - the French gesturalist style of Art Informel - a European variant of abstract expressionism pioneered by the New York School.

American abstract expressionism led the way, paralleled by Art Informel and Tachisme in Europe.

Hans Hartung was an established German artist mostly known for his gestural abstract style and contributions to the European Art Informel movement.

The catalogue aims to re-evaluate the legacies of abstract expressionism, Art Informel, and Japan's postwar avant - garde from a fresh perspective and presents timely contributions to the field from emerging scholars from the U.S. and Japan.

Important Informel Artists Leading abstract painters of the Art Informel movement included Jean Fautrier (1898 - 1964), Wols (Alfred Otto Wolfgang Sculze)(1913 - 51), Hans Hartung (1904 - 89).

Art Informel Term coined by French critic Michel Tapie, and used from the 1950s to describe the European equivalent to American abstract expressionism.

Europe's answer to the New York school of abstract expressionist painting was Art Informel, a movement that was - like its American counterpart - a rather general umbrella term for a new style of abstract painting which did not have any intellectual baggage or methodology.

In the 50s she returned to painting, creating abstract compositions which encompassed the gestural techniques of Art informel.

In the 1950s, still in the wake of the oppressive experiences of wartime and in distinction from the gestural painting of Europe's brand of abstract expressionism, art informel, ZERO consciously elaborated a monochrome pictorial language suffused with light.

Popular during the late 1940s and 1950s, this style of abstract art is part of (and to this extent synonymous with) the broader movement of Art Informel: the only difference is that Tachisme is focused exclusively on the type of expressive gesture used by the artist.

Closely related to tachisme is Lyrical Abstraction, a softer type of abstract painting, that eliminated some of the more subjective elements of Art Informel - a style exemplified by Nicolas de Stael (1914 - 1955), Jean Paul Riopelle (1923 - 2002) and the colourist Patrick Heron (1920 - 99).

Tàpies later joined the Art Informel movement as his work turned toward the abstract in the 1950s.

If Post-painterly abstraction sounds complicated, try reading about concurrent abstract expressionist movements in Europe, such as Art Informel (1940s, 1950s), its sub-variants Tachisme (late 1940s, 1950s) Lyrical Abstraction (1945 - 60), and the independent COBRA group (1948 - 51).

When the War ended, he turned his attention to abstract art in the form of oil painting, becoming associated with Art Informel, Tachisme and Lyrical Abstraction.

The latter being essentially an American movement, European abstract painters preferred the term Art Informel to describe their own version of abstract expressionism.

Maria Helena Vieira da Silva (1908 - 92) Portuguese - French abstract expressionist painter, member of Art Informel.

In Europe, abstract expressionism was known as Art Informel (formless art), which divided into a gesturalist wing, known as Tachisme (see also the COBRA group), and a softer style called Lyrical Abstraction.

In any event, detached as it was from the unique horrors of the Great War and the Holocaust of World War II, Mexican muralism contrasted noticeably with the flight into abstract art (via movements like Abstract Expressionism and Art Informel) adopted by many other 20th century painters during the period 1930 - 1960.

Most of all, however, Lassnig was inspired by the painterly gesture of abstract expressionism and art informel, with a focus on the connection between artist and canvas during the process of painting, writing in 1951: «The rhythm of painting should be like that of breathing when life is in the act of choking us.»

Other artists who have interested her include Gorky, Franz Kline, and Pierre Soulages and Bram van Velde (both were associated with Europe's post-World War II abstract - art tendency known as «art informel»).