Sentences with phrase «schooled as an abstract painter»

Schooled as an abstract painter and self - taught as a representational artist, Fischl mines historical painting and photography for source material.

Not exact matches

After obtaining a Bachelor of Fine Arts from the University of Georgia, Britt opened up shop as an abstract painter — a talent she discovered with less than a year and a half left at the Lamar Dodd School of Art.

In the early 1990s, as a young artist out of graduate school at Bennington College in Vermont, where he studied the work of mainstream abstract painters such as Helen Frankenthaler and Kenneth Noland, Odita got a job at Kenkeleba House in New York, owned by the painter Joe Overstreet, who collected and showed work by African American artists.

Gene Davis also was a painter known especially for paintings of vertical stripes of color, like Black Grey Beat, 1964, and he also was a member of the group of abstract painters in Washington DC during the 1960s known as the Washington Color School.

Guston achieved fame in the 1950s as a part of the first generation of abstract expressionists, although the painter himself preferred the term New York School.

Signed LL Theorodos Stamos is heralded as one of the few abstract painters who bridged the New York School's first and second generations.

Through the Mint Museum's collection you can trace the evolution of this genre from the work of the Hudson River School painters such as Thomas Cole and Sanford Gifford, who focused on the natural beauty of our country's topography, through the rise of Impressionism: a movement whose artists celebrated a more abstract, subjective view of their surroundings.

As an emerging Abstract Expressionist painter, Melinda happily acknowledges that abstract painting was in her blood long before she studied at the School of Visual Arts in New York City under Frank Roth.

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

He had just left the Chelsea School of Art after an unsatisfactory period as a figurative painter in an institution that overvalued abstract expressionism, and was «thrashing about as an artist» attempting to express his perplexity and anger at the dismal political situation facing the left at the time.

But among the things they had in common was a rejection of the gestural painting favoured by the abstract expressionists and other abstract painters, and the personal agonising associated with Auerbach, Bacon and what would come to be known as the School of London.

More than a decade later Guston made his name as an abstract expressionist working alongside painters of the New York School such as Jackson Pollock and William de Kooning.

Despite not being as widely known as some of his New York School contemporaries, Clyfford Still was the initial painter to break through to a different and radically abstract style devoid of any obvious subject matter.

Albert Irvin, the painter, who has died aged 92, started out in the 1950s as a figurative artist of the kitchen sink school, but after discovering Willem de Kooning, Jackson Pollock and Mark Rothko at a famous Tate exhibition in 1956 he reinvented himself as an exponent of a dazzlingly vigorous abstract expressionism, becoming one of Britain's most respected abstract artists.

Painter, sculptor, poet, and musician Larry Rivers was an established figure in the New York School, recognized for creating large paintings merging abstract and narrative elements, as in Washington Crossing the Delaware (1953), where the general leads his men through a space defined by murky oil washes and broad gestural brushwork.

Considered one of the foremost postwar abstract painters in the Southern California scene, working alongside a generation of artists known as the «cool school,» Ed Moses has been engaged in what he sees as a continual process of discovery for more than half a century.

Especially as the competition between national schools of abstract painting escalated, breaking out in arguments and even punches in the case of Kline and the French painter Jean Fautrier, it would follow that the internal competition within these national schools also intensified.27 This was certainly true on the French side at the Venice Biennale: in a very unusual move, two artists — Fautrier and Hans Hartung — were awarded Grand Prizes in painting, whereas normally only one was given, because the jury could not decide between the two contenders.28 Within the context of the politics internal to the movement of abstract expressionism, Meryon could thus be seen as a reassertion of Kline's original, breakthrough style as his own and thus a defence of his personal artistic identity, after Kline himself had turned to colour, around 1955, and left it up for grabs.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

It was the period when the gallery championed the work of a new group of abstract painters, referenced as «the second - generation New York School.»

After first establishing herself in New York as a highly regarded abstract painter in the midst of the heavily male New York School, Schapiro continued shaping feminist art, inviting Judy Chicago and the women artists of her Fresno Feminist Art Program to CalArts, and serving as a key player in bringing about the Feminist Art Program's legendary installation art project and performance space, Womanhouse, in 1972.

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.

Theodoros Stamos is heralded as one of the few abstract painters who bridged the New York School's first and second generations.

• WILLEM DE KOONING (1904 - 97) Dutch - born American abstract expressionist painter, member of the New York School, best - known for his style of gestural painting, as exemplified by his semi-abstract images of women.

What gave me great joy and confirmed my findings was that when I arrived in Paris in 1955 I encountered a friend from school, Jesús Rafael Soto, as well as all the abstract painters — their exhibition Le Mouvement had just closed.

As an undergraduate art major, Goldberg studied with the New York School painter Angelo Ippolito, who subscribed to the spontaneous approach that is the essence of abstract expressionism, regardless of the medium or technique.

It includes works by painters such as George Abend and Felix Ruvolo — key figures in the The San Francisco Bay Area abstract expressionism movement, as well as works by Bay Area Figurative School artists, including Nathan Oliveira, David Park, Roland Petersen and Joan Savo.

The inebriated and carefree social life of New York School abstract painters appears in numerous books and films, such as the 1976 «Next Stop, Greenwich Village,» or «Pollock» (2000) and it is not new to most readers with an interest in the subject.

In the 1960s, art critics identified Davis as a leader of the Washington Color School, a loosely connected group of Washington painters who created abstract compositions in acrylic colors on unprimed canvas.

St Ives (c.1880 - 1993) Noted for its artist colony devoted to plein - airism and, later, abstract art, the St Ives School in Cornwall was home to the sculptors Ben Nicholson, his wife Barbara Hepworth, and the Russian Naum Gabo, as well as painters like Peter Lanyon, Terry Frost and Patrick Heron.

In the 1950s, she took weekend studio classes at American University, working briefly with Jacob Kainen, one of a group of abstract painters — Gene Davis, Morris Louis, and Kenneth Noland were others — gaining national attention as the Washington Color School.

He trained as an abstract painter with the influential Al Held at Yale University in the early 1960s, but says he left school after getting his MFA and «wanted a world without heroes and with transitions — not juxtapositions.»