Sentences with phrase «as color field painting»

Frankenthaler had become a creator of a new kind of abstraction which became known as Color Field painting, using stains and color to seep into the canvas.

Mondrian's work had an enormous influence on 20th century art, influencing not only the course of abstract painting and numerous major styles and art movements (such as Color Field painting, Abstract Expressionism and Minimalism), but also fields outside the domain of painting, such as design, architecture and fashion.

Ironically enough, Wolfe, one of the academy's founders, was one of the funniest and most adroit critics of the orthodoxies of such art theories as color field painting and Minimalism, expressed in such books as «The Painted Word.»

Dan Christensen was an American artist notable for his unfettered use of color in styles such as Color Field painting and Lyrical Abstraction.

Kenneth Noland, whose brilliantly colored concentric circles, chevrons and stripes were among the most recognized and admired signatures of the postwar style of abstraction known as Color Field painting, died Tuesday at his home in Port Clyde, Me.

Today is the occasion to bear in mind Kenneth Noland (10/4/1924 -5 / 1/2010), whose brilliantly colored concentric circles, chevrons and stripes were among the most recognized and admired signatures of the postwar style of abstraction known as Color Field painting.

His technique and imagery associated him with the style known as Color Field painting, which emphasizes the visual and emotional potential of pure chromatic effects.

Decadent, rhythmically complex and personal, the works engage with art historical references such as color field painting, gestural abstraction and constructivist collage.

Staining was soon adopted by many other abstract artists, especially Morris Louis and Kenneth Noland, and helped to inspire what came to be known as Color Field painting.

To a certain extent, the abstract style known as Color Field painting is a one - shot deal: what you see is what you get.

Sam Gilliam made «After Glow» in 1972 as a color field painting.

For Greenberg they possess a radicalism that comes more from Impressionism than Cubism, while his later dissatisfaction with increased mannerism of the Abstract Expressionist paintings led him to coin the term Post-painterly Abstraction under which he included the novel tendencies in abstraction such as color field painting, hard - edge abstraction, and the Washington Color School.

[1] Greenberg's writings mostly dealt with non-objective art, Abstract Expressionism, and other forms of formalist and abstract styles, such as color field painting.

This was kind of an evolution of Jackson Pollock's dripping and became known as Color Field painting — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

Her ideas about surface, scale, and color are not only daring; they presaged the work of artists as varied as Barnett Newman, Milton Avery, Mark Rothko, Morris Louis, and Mary Heilmann, as well as Color Field painting, Lyrical Abstraction, and contemporary postmodern abstraction.

Kenneth Noland's colorful concentric circles, targets, chevrons, stripes, and shaped canvases were among the most recognized and admired signatures of the postwar style of abstraction known as Color Field painting.

Her deceptively romantic - naive visual language dissolves distinctions between abstract and figurative art, and her paintings exhibit a whimsical engagement with sources as various as Color Field painting, Pattern & Decoration, children's book illustration and textile design.

Los Angeles based artist Laura Owens synthesizes influences as varied as Color Field painting, Baroque art, and textile art in her large and unabashedly painterly canvases.

A realist who came of age during an era predominated by abstraction — Abstract Expressionism to be exact — Katz has been linked with a number of artistic tendencies, such as Color Field painting, Pop Art, and realism — both «new» and the traditional.

Not exact matches

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

Although firmly rooted in color - field abstraction, Jones» paintings consistently register as «pictures» - their spatial organization hints at a window space of varying depths even while the physicality of the paint asserts the surface.

Curated by Paul Schimmel, the show charts Guston's progress as he played with Color Field painting, moved into grid - like abstractions, and came gradually closer to figuration, combining the visual languages of Abstract Expressionism and Minimalism.

The basic point about Louis's work and that of other Color Field painters, sometimes known as the Washington Color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes the look of a finished painting.

In his paintings he reflected abstract - minimalist trends in 20th century art as were manifest, say, in the Russian avant - garde, American color field painting or Minimal Art.

Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s.

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

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 disparate as the artistic approaches appear to be in Rothko to Richter, what united the painters throughout the period was a commitment to process, as artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometrieAs disparate as the artistic approaches appear to be in Rothko to Richter, what united the painters throughout the period was a commitment to process, as artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometrieas the artistic approaches appear to be in Rothko to Richter, what united the painters throughout the period was a commitment to process, as artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometrieas artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometries.

Additionally, Tyler's paintings are reminiscent of the work from past artists such as the simplified geometric grids of Piet Mondrian's later work, color field paintings of Mark Rothko and the early abstract expressionistic work by Philip Guston.

Just to cover the historical end of the spectrum, there are two big museum shows: Color as Field Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at Color as Field Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at Field Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at Color Chart: Reinventing Color from 1950 to Today at Color from 1950 to Today at MoMA.

Sometime in 1940 Rothko makes his last figurative painting, then experiments with Surrealism, and eventually does away entirely with any figural suggestion in his paintings, abstracting them further and paring them down to indeterminate shapes floating in fields of color - Multiforms as they were called by others - which were greatly influenced by Milton Avery's style of painting.

Color field painting came in at the same time as the invention of this new paint.

Color Field pioneer Sam Gilliam, for example, first applied acrylic paint to raw, unprimed canvas by staining it like a piece of fabric, as realized in the sculpture - painting hybrid Hedge Sky.

Frank Stella's approach and relationship to Color Field painting was not permanent or central to his creative output; as his work became more and more three - dimensional after 1980.

Kenneth Noland, working in Washington, DC., was also a pioneer of the color field movement in the late 1950s who used series as important formats for his paintings.

Angelina Gualdoni's works on canvas take patterns, interiors and abstraction as their main focus, locating the rhythm of the everyday sublime in the language of color field painting.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

Associated with movements as diverse as Abstract Expressionism, Color Field painting, Minimalism, Op art, and Postmodernism, the artists featured in Rothko to Richter were at the forefront of debates about the changing priorities and imperatives of painting after World War II, each seeking to redefine abstraction for new social and cultural milieus.

The paintings by this great Color Field innovator, now 80, looked as every bit as fresh as they did when they were first made in the»60s and»70s — prompting some fair goers to ask the gallery, «who is this young artist you are showing?»

These are inscribed as a series of regular loops resembling a Slinky on opaque fields of color, often in smaller paintings.

Painters such as Kenneth Noland, Helen Frankenthaler, Dan Christensen, Sam Francis, Larry Zox, Ronnie Landfield, Larry Poons, Jules Olitski, Gene Davis, Ronald Davis, Sam Gilliam and others successfully used water - based acrylics for their new stain, color field paintings.

Where Salvador Dalí took Surrealism as a license to let his adult fantasies run free, Miró's fields of color never lose their grounding in the tradition of landscape painting and the actual landscape of his childhood.

Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting.

As much as he wrote about art during his lifetime, as in his book, The Artist's Reality: Philosophies on Art, written about 1940 - 41, he began to stop explaining the meaning of his work with his color field paintings, claiming that «Silence is so accurate.&raquAs much as he wrote about art during his lifetime, as in his book, The Artist's Reality: Philosophies on Art, written about 1940 - 41, he began to stop explaining the meaning of his work with his color field paintings, claiming that «Silence is so accurate.&raquas he wrote about art during his lifetime, as in his book, The Artist's Reality: Philosophies on Art, written about 1940 - 41, he began to stop explaining the meaning of his work with his color field paintings, claiming that «Silence is so accurate.&raquas in his book, The Artist's Reality: Philosophies on Art, written about 1940 - 41, he began to stop explaining the meaning of his work with his color field paintings, claiming that «Silence is so accurate.»

Often staining both sides of the canvas, her paintings operate as fluid scrims between still life, color field and pattern and decoration.

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.

As his current dealer, David Kordansky, puts it, «Color Field painting, as brilliant and amazing as it was, to some extent was kind of endgame paintinAs his current dealer, David Kordansky, puts it, «Color Field painting, as brilliant and amazing as it was, to some extent was kind of endgame paintinas brilliant and amazing as it was, to some extent was kind of endgame paintinas it was, to some extent was kind of endgame painting.

Gorky created broad fields of vivid, open, unbroken color that he used in his many of his paintings as grounds.

Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) were among the prominent abstract expressionist painters that Greenberg identified as being connected to Color Field painting in the 1950s and 1960s.

By the 1970s Poons created thick - skinned, cracked and heavy paintings referred to as Elephant Skin paintings; while Christensen sprayed loops, colored webs of lines and calligraphy, across multi-colored fields of delicate grounds; Ronnie Landfield's stained band paintings are reflections of both Chinese landscape painting and the Color Field idiom, and John Seery's stained painting as exemplified by East, 1973, from the National Gallery of Australia.