Sentences with phrase «abstraction of her early paintings»

Joseph is best known for his two - colour paintings, those of the 1960s being boldly geometric, relying on primary colours and optical effects; for Herrera the more lyrical abstraction of her early paintings gave way to a focus on pure geometry.

Not exact matches

The exhibit will include stunning hyper - realistic work by Churchill - Johnson — stark political statement contrasted with delicate, minimalist abstraction by Uyesaka — deeply engaging abstract oils by Scorzelli — dynamic and powerful ceramic insights by Rosenberg - Dent — fanciful, abstract adventures by Lehrer — an unsettling mixed - media installation with video by auto - expressionist, Metrov — striking figurative vs abstract works by Ferris — a lively «abolish blandness» painting by Lytle contrasted with fabulous yarn work from the early 90's — and a pair of McCracken's, always delightful, miniatures.

«Now, with abstraction, he paints with a freedom of expression that was evident in the earlier work, but in a much more restrained way.»

The painting is an example of Phelan's early work which sought to reconcile painterly abstraction with process based minimalism, but in this context the cut surface feels more desperate, as if the painter were punching a hole through which to breathe.

Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, Hard - edge painting, Geometric abstraction, Minimalism, and Color Field.

As visitors to his full - dress, full - floor Whitney retrospective will perceive from the moment they get off the elevator and are confronted by the mural - length 1999 painting Das Erdbeben in Chili [M # 3], the 79 - year - old artist has evolved to embrace riotous colors, unwieldy materials, and explosive forms in his recent work — even as younger artists with an interest in abstraction obsess over the rigorous formalism of his early years and pore over the compositional strategies in his 1986 book Working Space.

During the late 1950s and early 1960s Frank Stella was a significant figure in the emergence of Minimalism, Post-Painterly Abstraction and Color Field painting.

He began painting abstractions of video game imagery in the early 1990s before using computers, starting in 1997, to facilitate paintings through a technique he calls «frictionless drawing.»

During the early 1960s, British born painter Richard Smith made paintings that combined aspects of British Pop Art with those of American abstraction.

It is tempting to suggest that in painting this shift had happened decades earlier, particularly in that sub-category of painting called «abstraction.»

In 2015, the gallery presented Marvelous Void, the first exhibition to feature a selection of McLaughlin's geometric abstractions alongside two early Japanese ink paintings that exemplify Sesshu's concept.

The early modernist geometric abstraction of Wassily Kandinsky (1866 - 1944), Kasimir Malevich (1879 - 1935) and Piet Mondrian (1872 - 1944) is clearly acknowledged in Lerner's paintings over her career.

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Kelley Walker paints his lively chocolate abstractions over a famous 1960s photograph, similar to one borrowed earlier by Andy Warhol, of attacks on a civil - rights worker in Birmingham Race Riots.

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.

And as early as 1943 the principal tenet that was to distinguish the new abstraction from earlier, pre-war abstract art was clearly formed, as evidenced in a brief «manifesto» of the rising movement crafted by Mark Rothko, Adolph Gottlieb, and Barnett Newman for The New York Times in response to a negative review of the new style: «There is no such thing as good painting about nothing.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

Roberta Smith, a famous art critic, placed Guyton with some younger painters that were countering the structures of late Modernism by revisiting the early Modernist cusp between abstraction and representation, entering the area previously populated with Malevich «s robotlike peasants, Jawlensky's masks, Mondrian's flower paintings.

Organized by former National Gallery of Art curator Ruth Fine, in cooperation with PAFA's Robert Cozzolino and Michael Rosenfeld Gallery, the exhibition reveals the range and power of his abstraction through nearly 100 paintings and works on paper made between the early 1930s through the 1970s.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

Early Mondrian: Painting 1900 - 1905 (W1, to 23 Jan) looks at the work that came before the Dutch artist's conception of the De Stijl style's pared - down abstraction, and prior to the move to New York that facilitated his fascination with the grid as a form.

Pibal's paintings, unique in their small scale and lovely color, nevertheless allow me to make some visual connections within geometric abstraction: to Miriam Schapiro's famous Ox painting, currently part of the «Wack» show (opening February 17 at PS 1) to Frank Stella's early geometries, and to Warren Isensee's Body and Soul, which I posted recently.

These two - toned works characterize a period that is the predecessor to the heavily impastoed, figural abstractions that are the «Women» paintings of the early 1950s.

Furthermore, late Picabia has become implicated in our revisionist ideas of postwar European art as a whole, for it turns out that his «Transparencies,» not to mention his cheesy nudes and heavily impastoed»50s dot paintings, were scrutinized by the young Sigmar Polke as he began to deal, in the early»60s, with picture - postcard imagery and hackneyed abstraction.

Marsh, who began her career in the early 1970s in Paris and New York, arrived at landscape painting through the prevailing language of minimalist abstraction.

Currently on view at MCA Chicago through May 20, the exhibition spans Pindell's five - decade career, «featuring early figurative paintings, pure abstraction and conceptual works, and personal and political art that emerged in the aftermath of a life - threatening car accident in 1979.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Starting with his earliest works from the early 1950s, Rivers painted figuratively, at first turning away from the fashionable expressionist abstraction of Pollock and de Kooning, He would later incorporate the paint application and openness associated with Abstract Expressionism, while always remaining firmly representational, never losing the image.

It was a characteristic that I think clearly marked his work throughout; all his drawings, the early delightful «other world» still lives of fish, eggs and utensils, his progress towards abstraction and the final large paintings where austerity, essence, geometry and evocation come together.

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

The work moves through several recognisable phases: from the carefully constructed figurative pictures of the late 1940s; into various degrees of object - based abstraction; to an even simpler sort of still life painting in the 1970s and early 1980s.

What makes de Kooning such a great artist may be something far more subtle, far more interior to painting itself and perhaps expressed best in his earlier works, those that are, again, often described as transitional, from figurative works of the early 40s to even abstractions such as Painting, Attic, or Excpainting itself and perhaps expressed best in his earlier works, those that are, again, often described as transitional, from figurative works of the early 40s to even abstractions such as Painting, Attic, or ExcPainting, Attic, or Excavation.

In the context of a Los Angeles art museum, it was hard not to think of American abstraction in the early 1960s, particularly of the stripe paintings of Frank Stella, and the targets of Jasper Johns and, slightly later, Kenneth Noland.

«Claire Falkenstein: Matter in Motion» explodes this narrow view with nearly 50 works, introducing a relentless exploration of abstraction in early paintings on canvas and also curved perforated aluminum; sculptures of wood and glazed ceramics; and one fantastic mixed - media relief.

His early figurative painting slowly gained attention, and his black - and - white abstractions of the late 1940s made him a leader among the New York Abstract Expressionists; but the early 1950s Woman paintings made him famous for the violence of their depiction.

Moreover, Bas shifts the focus away from earlier themes toward an exploration of the essence of painting, displaying an overt interest in abstraction that puts the work far from the misguided comparisons to Kilimnik / Peyton of yesteryear.

Echoing the original blotted - line method that Warhol had applied in his drawings of the 1950s and early 60s, his new mirrored abstractions were achieved through a fundamental print making technique, folding an empty canvas over a freshly painted surface.

In 1948, Willem de Kooning painted one of his great early all - over abstractions here titled «Asheville.»

This group exhibition of early American abstraction includes rare paintings by seven of the ten members of the Transcendental Painting Group (TPG): Emil Bisttram, Ed Garman, Lawren Harris, Raymond Jonson, Agnes Pelton, Florence Miller Pierce and Stuart Walker.

His early paintings, his figurative still - lifes, particularly - not the late, softly fluid, lyrical abstractions that would profoundly influence the course of American art - are often so densely built up, so airtight with paint, that they've more or less had the life choked out of them; in the course of trying to keep them alive, they have in fact become dead things.

The RA's exhibition explores Diebenkorn's practice across four decades, focusing on the three different stages of his career from his initial embrace of abstraction in the early 1950s, his shift to figurative painting in the mid-1950s, and his return to abstraction in the late 1960s.

Abstraction no longer maintained its status of «contemporary» in the face of a torrent of image painting in the early 1980s — the so - called European Zeitgeist and «neo-expressionism» that appeared internationally, almost simultaneously.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

Moving from the early Abstract Expressionist paintings of Dusti Bongé and Marie Hull to the contemporary works of Bonnie Maygarden and and Shawne Major, this exhibition includes work that ranges from the early minimalist compositions of Ida Kohlmeyer to the fresh abstract spaces of Ashley Teamer; from the stained surfaces of Dorothy Hood and Anastasia Pelias to the biomorphic abstractions of MaPo Kinnord and Shawn Hall.

The art critic Roberta Smith wrote in a 2014 New York Times review of Benjamin Butler, «The results — which also owe something to Milton Avery and Alex Katz — express reverence toward nature and revisit the important role of landscape painting in the pursuit of early abstraction but also feel bracingly contemporary -LSB-...]»

Early in his career, his work was included in a number of significant exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Abstraction Across America, 1934 - 1946 explores two contemporaneous but geographically and philosophically distinct groups of early American modernists who laid the groundwork for abstract expressionism; the American Abstract Artists (AAA) and the Transcendental Painting Group (TPG).

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

Early in his career, his work was included in a number of significant exhibitions that defined the art of the postwar era, including Sixteen Americans, The Museum of Modern Art, New York, 1959; Geometric Abstraction, Whitney Museum of American Art, New York, 1962; The Shaped Canvas, Solomon R. Guggenheim Museum, New York, 1964 — 65; Systemic Painting, Solomon R. Guggenheim Museum, New York, 1966; Documenta 4, Kassel, 1968; and Structure of Color, Whitney Museum of American Art, New York, 1971.

His earliest paintings are figural, influenced by Cézanne and Surrealism, but by the early»50s he had moved into full abstraction, covering his canvases with dense patterns of mostly dark colors in short brushstrokes.