Sentences with phrase «informel in»

Other notable exponents of Art Informel in its main forms include: Serge Poliakoff (1906 - 69), Maria Helena Vieira da Silva (1908 - 92), Alfred Manessier (1911 - 93), Wols (1913 - 51), Nicolas de Stael (1914 - 55), Asger Jorn (1914 - 73), and Karel Appel (1921 - 2006).

Wols Retrospective: Paintings, drawings and photographs by an innovator of art informel in early 20th - century France, through Jan. 12.

Other notable exponents of Art Informel in its main forms include: Serge Poliakoff (1906 - 69), Maria Helena Vieira da Silva (1908 - 92), Alfred Manessier (1911 - 93), Wols (Alfred Otto Wolfgang Sculze)(1913 - 51), Nicolas de Stael (1914 - 55), Asger Jorn (1914 - 73), Pierre Soulages (b. 1919), Karel Appel (1921 - 2006), and Jean - Paul Riopelle (1923 - 2002).

The painterly abstraction of Sam Francis is most often associated with the American Abstract Expressionist movement, but Francis also spent a great deal of time in Paris and became linked with the parallel movement of Art Informel in Europe.

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.

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

Not exact matches

Tachisme emerged in France in the 1940s and 1950s, and it is closely related to Informalism or Art Informel.

Hans Hartung was born in Leipzig, Germany in 1904, but is often identified by his artistic activity in Paris and his involvement in the French Art Informel or Tachist movements.

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.

Agnetti began working in Art Informel and poetry at an early age and contributed to the journal Azimuth, which was founded by Enrico Castellani and Piero Manzoni and remains a key document of the Italian avant - garde at the dawn of the 1960s.

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.

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.

In his later work Dubuffet returned to the gestural techniques of Art Informel.

His art was far more technically radical — and no less expressive — than the gestural painting pioneered by his contemporaries on both sides of the Atlantic, such as the European proponents of Art Informel and the Abstract Expressionists in America.

Graduating from the oil painting department of the Seoul National University in 1956, Chung first worked in the then - prevalent style of Korean informel.

Beginning in the 1950s, he played a central role in the Nederlandse Informele Groep (Netherlandish Informal Group) and the Nul - groep (Nul Group)-- which were affiliated with the European Informel movement and the ZERO Group respectively.

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.

The painting in this photo is from my father's gestural period; in France it's called lyrical abstraction or Art Informel.

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.

The genesis of the applied technique lies in his interest in Art Informel, where he used the sweeping, swirling path of the brush marks that were clearly visible, opposed to soft blurring that was used in his photo - paintings.

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.

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.

Schoonhoven played a central role in the Nederlandse Informele Groep (Netherlandish Informel Group) and the Nul - groep (Nul Group), the Dutch equivalent of ZERO.

Amid a wave of interest in rethinking the two - dimensional surface — embodied by Minimalism and Neo-Dada in the United States, and Art Informel, Nouveau Réalisme, and Arte Povera in Europe — the bulges, ripples, and gashes of Scarpitta's three - dimensional «paintings» proclaimed their abject physicality.

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.

In the early years his work was influenced by a kind of Art Informel Expressionism, that is to say a European model of a slightly more narrative - inflected Abstract Expressionism, haunted by ghosts of bodies.

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.

While Informel is often regarded as the European equivalent of Abstract Expressionism, it is distinguished from its American counterpart, by a loss of faith in progress and the collective possibilities of an avant garde.

As Heinz Mack and Otto Piene wrote in 1957: «The main tendency was the purification of color as opposed to the informel and neo-expressionism; the peaceful conquest of the

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.

Sam Francis absorbed influences from the many places he lived and worked throughout his extraordinary life, blending American Abstract Expressionism with European Art Informel and Eastern art in his celebrated paintings and prints.

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.

Beginning in the 1950s, he played a central role in the Nederlandse Informele Groep (Netherlandish Informel Group) and the Nul - groep (Nul Group)-- which were affiliated with the European Informel movement and the Zero Group, respectively — and was included in numerous important and related group exhibitions including Zero - O - Nul at the Gemeentemuseum Den Haag, The Hague, in 1964, and Amsterdam, Paris, Düsseldorf at the Solomon R. Guggenheim Museum, New York, in 1972.

The retrospective's consideration of Wols's relations not only to Informel but also to Surrealism — and of his production of not only paintings and watercolors but also photographs — promises a fresh reception, one both international and art historical in scope.

[1] It was part of a larger postwar movement known as Art Informel (or Informel), [3] which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting.

Although Greenberg did not wrestle into submission the elusive concept of taste — the word has too many contradictory meanings in his writings — he did not shy away from esthetic judgments, dismissing Pop art as «academic» and, in the 1950s, even claiming that Abstract Expressionism and Art Informel had «a chance of being the worst art ever beheld under the name of art.»

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.

As Germano Celant has observed, «he does not place himself on or in front of the picture, like Pollock and Fontana, but behind and to one side, almost as if he wishes to draw attention to a parallel flow where for his vision the «visceral» product, dear to the exponents of Art Informel, can now be provided by the «painting», that comes into existence by itself» (G. Celant, «Manzoni and his Times», Piero Manzoni: A Retrospective, exh.

It was part of a larger postwar movement known as Art Informel (or Informel), which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting.

In searching for alternatives to Socialist Realism and Art Informel, he became interested in anamorphosis and in the art of the mentally ilIn searching for alternatives to Socialist Realism and Art Informel, he became interested in anamorphosis and in the art of the mentally ilin anamorphosis and in the art of the mentally ilin the art of the mentally ill.

Finalising his break with the East, he mounts the photos of the works he had made in Dresden and puts them in a portfolio.He starts making Informel works with titles such as Wound and Scar.

Many of his early works were posed in critique of art informel and Abstract Expressionism.

They advocated the new beginning of art, as the opposite of the German Informel, considering the fact that, following the horrors of the Second World War, art need to return to a zero degree in order to overcome the violent and destructive experiences.

The exhibition Deutschland 8 will be on view in Beijing from September 16th until October 31st, 2017 at the Imperial Ancestral Temple Art Museum (Traces of Memory — Masterworks of Contemporary German Painting from September 17th until October 20th), CAFA Art Museum (Paradigms of Art — Contemporary Art from Germany from September 16 until October 29th), Today Art Museum (Arrested Time — New Media Art from Germany from September 17th November 12th), Whitebox Art Center (Next Generation — Young German Art from September 15th until October 31st), Beijing Minsheng Museum (Language of Photography and the Duesseldorf School from September 16th until October 22nd), Red Brick Museum (Prologue — German Informel Art from September 16th until October 22th), Yuan Art Museum (Dialogue — The Spatial Dimension of Colour from September 16th until October 31st).

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 JorIn 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 Jorin 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 Jorin the works of CoBrA members Karel Appel, Constant and Asger Jorn.

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.

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.

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.

Curiously, the same degree of fragmentation was occurring in Europe: the main movement Art Informel, which corresponded to Abstract Expressionism, comprised numerous different styles and tendencies, such as Tachisme, Art Non Figuratif, Abstraction Lyrique, and others.

In any event, his signature style has made him one of the most recognizable 20th - century painters within the Art Informel idiom.