Sentences with phrase «informel artist»

Leading Art Informel artists included Maria Helena Vieira da Silva, Jean Fautrier, Wols (Alfred Otto Wolfgang Schulze), Nicolas de Stael, to name but a few.

Association with the post-war Art Informel artists such as Jean Dubuffet, renders Hans Hartung one of the most significant German painters.

Hans Hartung is associated with post-war Art Informel artists such as Karel Appel, Jean - Paul Riopelle, and Jean Dubuffet.

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).

Hesistant to align with any one school or group Francis began to exhibit alongside Art Informel artists in the mid 50s and then was deemed by Clement Greenberg worthy of inclusion alongside others practicing «post-painterly abstraction.»

Not exact matches

1958 1958 Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh (December 5, 1958 — February 8, 1959) A propos du baroque: Jean Degottex, Marcelle Ferron, Sam Francis, Simon Hantaï, Shirley Jaffe, Marcelle Loubchansky, Joan Mitchell, Judit Reigl, Jean - Paul Riopelle, Galerie Kléber, Paris (November — December) Some Contemporary Works of Art, Cleveland Museum of Art, Ohio (November 11 - December 31) American Symbolic Realists: Fifteen American Artists, Palazzo Collicola, Festival dei Due Mondi, Spoleto, Italy (June 8 — 29) 18th Annual Exhibition of the Society for Contemporary Art, Art Institute of Chicago (May 8 — June 8) The Museum and Its Friends: Twentieth - Century American Art from Collections of the Friends of the Whitney Museum, Whitney Museum of American Art, New York (April 30 — June 15) American Artists of Younger Reputation, New York Art Foundation, Rome (opened April 14) The Evocative Eye, Signa Gallery, East Hampton, New York (July 5 - 24) The International Art of a New Era: Informel and Gutai, Osaka Festival, Osaka, Japan (September 2 — 7) Action Painting, Dallas Museum of Contemporary Arts (March 5 — April 13) Abstract Impressionism, The Art Galleries, Portland Building, University of Nottingham, England (February 19 — March 19).

Focusing on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

Their paintings demonstrate each artist's adaptation of an Abstract Expressionist approach — spontaneous gesture, subjective imagery, and emotional content — seen in relation to American precedents and contemporaneous European trends such as l'art informel and Spatialism.

While Christie's is focusing on the French and international artists from the 80's onwards, with several brilliant post-war lots, it appears Sotheby's will have many more works from the post-war period, with a distinctive focus on French Art Informel, and Contemporary in broader sense.

With it's decisively executed gestural abstraction and delicately caked surfaces, the canvases strongly evoke works by several artists associated with Art Informel, Abstract Expressionism, and Pop Art including Emil Schumacher, Willem de Kooning, and Robert Rauschenberg.

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

Rather the artists who came to be grouped as Informel, Jean Miotte, Jean - Paul Riopelle, Emil Schumacher and Kazuo Shiraga among others, claimed an individual freedom embodied in the spontaneity of the gestural brushstroke.

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.

Influenced by international Art Informel, German Informel defined the painting of a group of young artists in the 1950s and 1960s, forming an important school in post-war German art.

Exploring 20th century art and its influences world - wide, Entwistle (New York, main) will show tribal sculptures side by side with post war Japanese paintings of the Gutai and Informel movements; while Axel Vervoordt (Antwerp, main) will curate a rare solo presentation of Masatoshi Masanobu, a significant artist from Gutai's second wave.

The Gruppo Uno, disbanded in 1967, distanced itself from Art Informel, proposing a concept of art that was connected to the theories of perception, and suggested a different role for the artist in society.

He also made the acquaintance of many of the artists involves with art informel, including Georges Mathieu, Wols and Hans Hartung.

Galerie Perrotin will now represent the estate of Hans Hartung, the French artist associated with the Art Informel and Tachisme movements.

The exhibition in the Neue Galerie Graz presents works by the artist — some of them not yet shown — from all creative periods, an œuvre that traces the developments from Art Informel to representational painting in exemplary fashion.

Further, his artistic style ranges from l'art informel, being influenced by artists such as Antoni Tàpies and Jean Dubuffet, to master colorists such as Willem de Kooning, Mark Rothko.

But Kounellis» work is not about the artifice of traditional painting; rather, its strict formality is railing against the prevailing gestures, drip and daub tendencies of Abstract Expressionism and Art Informel where the action, emotion, material, touch and will of the artist is inextricably interwoven within both the medium and the form.

Opening with masterpieces by such major artists as Kandinsky, Duchamp and Max Ernst, the exhibition goes on to explore postwar developments on both sides of the Atlantic, with the Art informel of European masters as Alberto Burri, Emilio Vedova, Jean Dubuffet, Lucio Fontana, and with work by leading figures on the American art scene from the 1940s to the 1960s: Jackson Pollock, Mark Rothko and Alexander Calder alongside work by Willem de Kooning, Robert Motherwell, Roy Lichtenstein, Cy Twombly and others.

A show currently running at MoMa Ps1 focuses on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

The art of Enrico Castellani was always deeply influenced by the styles of his fellow artists, who had also decided to go against the dominant streams of Surrealism, Informel and Abstract Expressionism, and to seek an infinite, minimalist form of expression.

While in Paris, he discovered the work of artists associated with Art Informel, a pictorial movement that developed in Europe during the 1940s and 1950s with Jean Fautrier, Jean Dubuffet, Antoni Tàpies, and Alberto Burri.

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).

Sodi's influences range from l'art informel, looking to artists such as Antoni Tàpies and Jean Dubuffet, to master colorists such as Willem de Kooning, Mark Rothko, and the bright hues of his native heritage.

In Europe, gesturalism was practised in the Art Informel movement (the European version of Abstract Expressionism) by artists like Georges Mathieu and Wols, by exponents of Tachisme, and by Asger Jorn (1914 - 73) and Karel Appel (1921 - 2006) of the COBRA group.

Maria Helena Vieria da Silva (1908 - 92) Portugese artist, exponent of Art Informel painting, noted for architectural imagery.

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

After serving in the French army during World War II, German - born Hartung settled in Paris where he worked among artists, such as Jean Dubuffet and Pierre Soulages, associated with the School of Paris and Art Informel.

Important COBRA, Art Informel and Tachisme painters included the Dutch artist Karel Appel (1921 - 2006) and the German - born painters Hans Hartung (1904 — 1989) and Wols (Alfred Otto Wolfgang Schulze)(1913 — 1951).

Dalí not only mimicked the academic realism of artists such as Gérôme and Meissonier, he also enjoyed parodying the splattered paint of Pollock and Matthieu, the once famous exemplar of art informel, the French parallel to Abstract Expressionism.

Following the exhibition at Galerie Thaddaeus Ropac in Salzburg in the summer of 2016, this presentation provides an impressive insight into the artist's early work, in which the field of tension between Surrealism, American Minimalism, Abstract Expressionism and European Informel reaches a climax.

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.

Hans Hartung was one of the few artists who spent their entire life working in an Informel manner.

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.»

The New York School was the locus of this phenomenon, but it had related currents the world over, including European tangents like CoBrA (an amalgam of painters from Copenhagen, Brussels, and Amsterdam), a loose federation of artists lumped under the rubric Art Informel and the Art Brut of Jean Dubuffet.

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»).