Sentences with phrase «other abstract artists whose»

Other abstract artists whose works were grounded in nature include Manoucher Yektai, who absorbed the ideas of abstract expressionism and the School of Paris; Sohrab Sepehri whose semi-abstract compositions drew on imagery of desert landscapes from his native Kashanor; and Abolghassem Saidi known for his lyrical and sensuous style.

Not exact matches

Painted in 1939, just before the outbreak of World War II, it then represented a new line for Picasso, whose abstract techniques have done more to influence 20th century painting than that of any other artist.

Included in the collection are specially commissioned works by portraitist Gilbert Stuart, contemporary abstract painter Maggi Brown, Martha Lloyd, Joe Greene, Tony Evanko, Ben Freeman, and other artists whose works are featured in guestrooms and throughout the hotel.

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

Unlike other artists working at the time whose work shifted gradually away from the representational, Malevich's leap into the abstract was sudden, conceptual and entirely premeditated.

Such were the concerns at the heart of the Spiral Group, whose only exhibition, the 1965 First Group Showing: Works in Black and White, is represented by works by Emma Amos, Reginald Gammon, Norman Lewis, Hale Woodruff, and others — along with additional works by these artists, including Woodruff's large abstract painting Blue Intrusion (1958).

As an internationally recognized artist whose work spanned five decades, Allan D'Arcangelo began painting at a pivotal moment when artists, critics, and dealers were challenging the dominance of abstract expressionism and other modernist doctrines and hotly contesting new criteria in defining the creation and interpretation of art in society.

In a late interview he stressed that his reviews for the Nation and Partisan Review sometimes praised artists such as Edward Hopper and Arnold Friedman, and others whose work was far from abstract.

On the other hand, both parts of Black in the Abstract make it perfectly clear that, on the whole, the quality of the work being produced by black artists whose practices include abstraction — as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «abstract painter» — does not suffer in comparison with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love Story.

Bridging the Harlem Renaissance, abstract expressionism, and other movements, Lewis is a crucial figure in American art whose reinsertion into the discourse further opens the field for recognition of the contributions of artists of color.

She attended the Emily Carr University of Art and Design, where, like other artists of her generation, she encountered the instructor and abstract painter Elizabeth McIntosh, whose fresh and expansive approach to abstract painting has played a critical role in Mouton's art.

Abstract Expressionism also provoked avant - garde responses from several other artists including Cy Twombly (1928 - 2011), whose calligraphic scribbling is part - drawing, part - graffiti; and the Californian abstract sculptor Mark Di Suvero (b. 1933) noted for his large scale iron / steel sculptures.

The show addresses how artists departed from abstract expressionism with in - depth concentrations of works by Ellsworth Kelly, whose Tablet series documents how he abstracts everyday forms to create the shapes found in his paintings; Cy Twombly, whose strangely elegant paintings are sometimes built up with scribbles and scrawls, other times scratched out with a screwdriver dragged across a painted surface; and the twin pillars of neo-Dada, Robert Rauschenberg and Jasper Johns.

Other important contributors to action painting include: Mark Tobey noted for his White Writing style of calligraphic gesturalism; Franz Kline, an artist whose works include colour field compositions as well as vigorous gestural work, sometimes compared to gigantically enlarged fragments of Chinese calligraphy); Robert Motherwell (in his series entitled Elegy to the Spanish Republic, and his powerful black and white paintings); Cy Twombly (in his gestural works based on calligraphic, linear symbols) and Adolph Gottlieb (noted for his abstract surrealist series including Pictographs, Imaginary Landscapes and Bursts).

Color and gesture are central concerns of this artist, whose works are at once challenging and whimsical, and her current exhibition departs from Grosse's typical method of large - scale sculptural installation, turning her abstract style instead towards work in which movement and color is tidily contained to the canvas instead of imposed onto walls and other three dimensional forms.