Sentences with phrase «lyrical abstraction which»

He pioneered a lyrical abstraction which was to become a major influence on the New York School.

During the later phases of Color Field painting; as reflections of the zeitgeist of the late 1960s (in which everything began to hang loose) and the angst of the age (with all of the uncertainties of the time) merged with the gestalt of Post-Painterly Abstraction, producing Lyrical Abstraction which combined precision of the Color Field idiom with the malerische of the Abstract Expressionists.

Not exact matches

Over six decades, the artist has explored through her distinctive style of lyrical, luminous abstraction, which reflects through her paintings executed in oil, carrying a sense of intriguing intimacy combined with uncompromising yet gentle intensity.

The Museum of Fine Arts, Boston therefore is to be applauded for its accompanying exhibition Reflections Of Monet, which includes Abstract Expressionism, Colorfield Painting and Lyrical Abstraction and is located on the main floor of the museum; running concurrently with Monet In The 20th Century on the second floor.

Cheat River Landscape, addresses another issue which is at the central core of Lyrical Abstraction, and that issue was that advanced painting pay attention and express what was going on in the culture of the late sixties.

Lyrical abstraction also represented a competition between the School of Paris and the new New York School of Abstract Expressionism painting represented above all since 1946 by Jackson Pollock, then Willem de Kooning or Mark Rothko, which were also promoted by the American authorities from the early 1950s.

Lyrical Abstraction was the title of a circulating exhibition which commenced at the Aldrich Contemporary Art Museum, Ridgefield, Connecticut from April 5 through June 7, 1970, [18] and ended at the Whitney Museum of American Art, New York, May 25 through July 6, 1971.

His work fits, more precisely, in the Lyrical Abstraction school of thought, which is also promoted by painters such as Michelle Destarac and Pierre Célice.

Understood as an umbrella under which hard - edge painting, color stain painting, lyrical abstraction, and minimal painting stood, post-painterly abstraction introduced a more logical and systematic approach to creativity.

She was invited to participate in the influential 1970 — 1971 Lyrical Abstraction exhibition, which traveled the country and culminated at the Whitney Museum of American Art.

Beginning in the 1950s and 1960s, several Abstract Expressionist / color field artists (notably: Barnett Newman, Mark Rothko, Robert Motherwell, Adolph Gottlieb, Theodoros Stamos, Sam Francis, Ludwig Sander, Clyfford Still, Jules Olitski, and others) explored motifs that seemed to imply monochrome, employing broad, flat fields of colour in large scale pictures which proved highly influential to newer styles, such as Post-Painterly Abstraction, Lyrical Abstraction, and Minimalism.

Lynda Benglis is an American sculptor and visual artist, considered as a pioneer of a form of abstraction in which each work is the result of materials in action, creating sculptures that eschew minimalist reserve in favor of bold colors, sensual lines, and lyrical references to the human body.

A pioneer of a form of abstraction in which each work is the result of materials in action — poured latex and foam, cinched metal, dripped wax — Benglis has created sculptures that eschew minimalist reserve in favor of bold colors, sensual lines, and lyrical references to the human body.

His work was also shown in the seminal exhibition Véhémences confrontées (Opposing forces), which visually pitted European Lyrical Abstraction against American Abstract Expressionism and for which Mathieu assisted French critic Michel Tapié in organizing at Galerie Nina Dausset, Paris (1951).

Coined by the French sculptor and writer Michel Tapié in his 1952 book «Un Art Autre,» it was one of several buzzwords used by critics (another being «Lyrical Abstraction») to define the formless abstract expressionist style which arose during this period, both in America and Europe.

With Bowen, Avray Wilson founded the legendary New Vision Centre Gallery in London in 1956, which promoted lyrical and expressive forms of Abstraction, along with hard - edge geometric.

During the 1960s, this highly formalist trend of Colour Field painting (which Greenberg nicknamed Post-Painterly Abstraction) fragmented into smaller groups such as Washington Colour School, Hard - edge painting, Lyrical Abstraction, and Minimal Painting.

Downing's surfaces, such as in the marvelous «Abstract Composition» (1970) and «Recall» (1975) are much smoother and cooler than Levee's, by which he achieves a delightful form of lyrical abstraction that deserves acknowledgment superior to what he has received until now.

The title of this brief reflection is cobbled together from Philip Guston's 1978 letter to Ross Feld, a younger poet and critic who had written appreciatively of Guston's signal 1970 show, which marked his leap (or return) to figuration after years building a solid legacy of moodily lyrical abstractions.

«It became apparent,» Aldrich said, «that in painting there was a movement away from the geometric, hard - edge, and minimal, toward more lyrical, sensuous, romantic abstractions in colors which were softer and more vibrant.

Aldrich donated his Lyrical Abstraction paintings to the Whitney Museum, which held an exhibition of the paintings in 1970.

In theory, Art Informel was the main umbrella movement, which encompassed numerous sub-styles and sub-groups, such as Forces Nouvelles, CoBrA, Tachisme, Art Brut, Art Non Figuratif and Lyrical Abstraction.

Although the Russian painter Wassily Kandinsky (1866 - 1944) can be said to have pioneered the elegant combination of narrative, form and colour which is the basis of Lyrical Abstraction, the tendency emerged at an exhibition entitled «L'Imaginaire», which was held at the Galerie du Luxembourg in Paris, in 1947, and which included works by Hans Hartung (1904 - 89), Wols (Alfred Otto Wolfgang Schulze)(1913 - 51), Jean - Paul Riopelle (1923 - 2002), and others.

The term Lyrical Abstraction was also employed in America during the early 1960s, to refer to a purely abstract style of Colour Field painting which appeared in works by Helen Frankenthaler, Morris Louis (1912 - 62), Kenneth Noland (b. 1924) and others.

It was Greenberg who encouraged Bush to refine his technique and approach which eventually tied his work with the two movements born from Abstract Expressionism; Color Field Painting and Lyrical Abstraction.

American Lyrical Abstraction (1960s, 1970s) A movement which became known as Lyrical Abstraction emerged in America during the 1960s and 1970s, in response to the growth of Minimalism and Conceptual art.

Christenberry describes Calcagno's painting style as lyrical abstraction, which provided a counterbalance to Mel Price's style of Abstract Expressionism.

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.

An exhibition aptly titled Lyrical Abstraction was held first at Aldrich Contemporary Art Museum in 1970 after which it was moved to the Whitney Museum of Contemporary Art in 1971.

The styles embraced by this term include Hard - Edge Painting, illustrated by the works of abstract painters like Al Held (b. 1928), Ellsworth Kelly (b. 1923), Frank Stella (b. 1936), and Jack Youngerman (b. 1926); Colour Stain Painting, exemplified by Helen Frankenthaler (b. 1928), Joan Mitchell (1926 - 92), and Jules Olitski (b. 1922); Washington Colour Painters, such as Gene Davis (1920 - 85), Morris Louis (1912 - 62) and Kenneth Noland (b. 1924); Systemic Painting, which covered the work of Josef Albers (1888 - 1976), Ad Reinhardt (1913 - 67), as well as Stella and Youngerman; Lyrical Abstraction, including works by Mark Tobey (1890 - 1976), Frankenthaler and others; Colour Field Painting, illustrated by the works of pioneers Barnett Newman (1905 - 70), Mark Rothko (1903 - 70), Clyfford Still (1904 - 80), and Hans Hofmann (1880 - 1966), as well as Frankenthaler, Noland, Stella, Olitski, Morris Louis, Ellsworth Kelly and Richard Diebenkorn (1922 - 93); and Minimal Painting which referred to pictures by Robert Mangold (b. 1937), Agnes Martin (1912 - 2004), Brice Marden (b. 1938), and Robert Ryman (b. 1930).

Instead, Lyrical Abstraction is known for the freedom of expression in which its artists indulge in.

In the same essay Cornish brings attention to Mali Morris's «materiality and touch», which reminds me of the recent article by David Sweet at Abstract Critical where, questioning the relevance of «the kind of average lyrical abstraction of the late colour field period» and highlighting the importance of detail in the era of high - definition he partially equates touch with detail.