Sentences with phrase «as an abstract expressionism artist»

Albert Alcalay (1917 Paris - March 29, 2008 Boston) was an American abstract artist, also known as an abstract expressionism artist.

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He was a member of the American Abstract Artists and was a part of the movement centered on the Betty Parsons Gallery that became known as abstract expressionism.

With the exception of Kelly, all of those artists developed their versions of painterly abstraction that has been characterized at times as lyrical abstraction, tachisme, color field, Nuagisme and abstract expressionism.

It was his appropriation of these concepts that, in future years, would solidify his status as an important member of the École de Paris, the European counterpart to American abstract expressionism that incorporated artists such as Jean Dubuffet, Hans Hartung and Jean Massagier.

The original common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism.

And as these artists informed the development of abstract expressionism, so Burkhart gives new interpretation to a strange and compelling emotional landscape.

But like Elmer Bischoff and David Park, with whom he made the turn to figurative painting a few years later, Diebenkorn was asking questions that abstract expressionism couldn't always answer, even though, as the early works in the show at the Royal Academy (until 7 June) suggest, he was a loyal and talented disciple: the LA Times described him as «one of the most gifted artists in the American non-objective field».

Coming of age as an artist during the 1960s, on the heels of abstract expressionism during a period when the art - world was dominated by men, she succeeded in expressing her unique artistic vision and voice and continues to do so to this day.

Hans Hofmann in particular as teacher, mentor, and artist was both important and influential to the development and success of abstract expressionism in the United States.

Being in a classroom environment allowed me to be around all kinds of diverse young artists with many different interests, and also to discover artists I had not studied before who were using writing — linguistic abstract gestural expressionism, such as calligraphy — in their contemporary works of art.

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.

In abstract painting during the 1950s and 1960s several new directions like hard - edge painting and other forms of geometric abstraction began to appear in artist studios and in radical avant - garde circles as a reaction against the subjectivism of abstract expressionism.

However, through the thinness of his application of the acrylic paint Warhol has characteristically drained the broad brush strokes of any distinctive personality, thus flying in the face of earlier critical and popular appraisals of abstract expressionism as a record of the psyche of the artist.

Kline was best known for his role as an «action painter» of abstract expressionism, a movement that was popular in New York during the 1940s and 1950s and introduced the world to artists including Jackson Pollock and Willem de Kooning.

Jenkins's diaphanous streaks and gentle, fluid fields of color positioned him as an important figure in abstract expressionism, and he often exhibited in the same venues as Jackson Pollock and Willem de Kooning — artists who shared his instinctual working method.

To simplify and clarify the study of art, historians have created precise categories such as «social realism», «Surrealism» and «abstract expressionism», at the expense of many artists like Eilshemius,

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.

As the show's title expresses, the predominance of abstract expressionism in midcentury American modernism eclipsed the work of Porter and other artists like him who chose to work in a figurative vein.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

In the resulting work, the focus is not on the artist or the artist's feelings or subconscious emotions (as in abstract expressionism), but on the spectator, the spectator's absorption of visual stimuli and the theatricalities of observation (the latter exemplified in Frappez les Gradés).

Wit and eccentricity were the key motivators of these «pioneers» who combined various materials and media to produce the «more social type of art» in contrast to the abstract expressionism which was viewed as elitist by some of the artists and theorists.

MOCA's permanent collection is comprised of nearly 6,000 works of art created since 1940 in all visual media, including masterpieces of abstract expressionism and pop art as well as inspiring new works by artists from around the world.

Highly engaged with international art movements such as cubism, abstract expressionism, arte povera, and conceptual art — but also having studied and lived in Europe and the United States — an older generation of the artists on view pioneered modern art in Cyprus, through a dialogue within local traditions.

He then left for New York and pursued abstract expressionism, determined to break free of racial associations in his paintings — he was, reportedly, tired of being pigeonholed as a Caribbean artist.

Historically, artists and writers alike saw that as a challenge: at the height of abstract expressionism and the old New York intelligentsia, theorists and critics were coming up with new terms as quickly as artists could defy them.

In abstract painting during the 1950s and 1960s several new directions like Hard - edge painting and other forms of Geometric abstraction like the work of Frank Stella popped up, as a reaction against the subjectivism of Abstract expressionism began to appear in artist studios and in radical avant - garde circles.

Therefore, the prevalent view is to understand the worlds of Asian artists with Oriental lyricism, though different in technique, as a branch that absorbed the influence of abstract expressionism.

Covered with undulating loops of paint, the Infinity Net paintings, first produced by the artist in New York in the late 1950s, act as a conduit between abstract expressionism and minimalism.

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.

«I define modern art as going up through abstract expressionism,» he explains, «then with Warhol and Lichtenstein and the pop artists, Johns and Rauschenberg, there is a return to the visible world in one way or another.

Two American artists who live and work in Los Angeles, are representing one post-painting School of L.A., since they maintain the large surfaces and the strong - bright colors, their works are non-figurative and abstract, acting as reference to abstract expressionism but adapted in a new social context.

Together with Rauschenberg and Jasper Johns, Twombly is regarded as the most important representative of a generation of artists who distanced themselves from abstract expressionism.

From her an exile in America, through to her struggle to develop as an artist during the post second world war dominated by surrealism, abstract expressionism, and men.

Indeed, her technique is so refined that it is impossible to identify the brushstrokes or painterly marks that have often been regarded, in various movements and moments over the past 60 years, as the last romantic gasp of the artist's self — such as in abstract expressionism, for instance, where the gesture was seen as a revelation of ego (usually a male ego).

As Lynne Cooke notes, Chamberlain's gestural abstraction and his embrace of the accidental and the spontaneous made his work consistent with abstract expressionism, but to viewers who focused more on his choice of materials «crushed automobile parts in sweet, hard colors redolent of Detroit cars of the 1950s — it was more appropriately aligned with the contemporary work of many Pop [sic] artists.»

Drawing from the energy and freedom of painting in an urban landscape, he translates his roots as a graffiti artist into paintings that are a completely unique form of abstract expressionism.

Furthermore, to routinely omit artists such as Norman Lewis, who participated in the famous closed - door Studio 35 sessions defining abstract expressionism, is to disregard abstraction's debt not only to black culture, but to the artists who shaped its contours and analyzed its place in art history and theory.

Since critics so often discuss your work in terms of its being, as they suggest, a bridge between abstract expressionism and Pop art, it might be interest ing to see how very different it is, how distinct your attitudes and ideas were from either, and from the artists who were figures at either end of that bridge.

Postwar Modern Art and the Rejection of Modernism The development of a new American art movement was held in abeyance until after World War II, when the United States took the lead in the formation of a vigorous new art known as abstract expressionism with the impetus of such artists as Arshile Gorky, Jackson Pollock, and Willem de Kooning.

As the influence of abstract expressionism waned in the 1960s, artists came to question the very philosophy underlying modernism.

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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.

The artists will present 30 new paintings on canvas in styles such as surrealism and abstract expressionism, inspired by artists including Picasso, Salvador Dali, Diego Rivera and Frida Kahlo.

Ossorio speaks of his youth and education in England and the United States; attending Harvard; working as a medical illustrator for the Army; coming to New York and becoming acquainted with Jackson Pollock and other New York artists; a mural commission he received for a church in the Philippines; the difficulty of introducing new ideas into Catholic art; traveling to Paris; his association with Jean Dubuffet; changes in his technique; his work in collage; his affiliation with the Signa Gallery; abstract expressionism.

Greenberg is often considered one of the most — if not the most — influential art critics of the 20th century, whose promotion of abstract expressionism and artists such as Jackson Pollock helped to define art of post-war America (and the world).

In particular, stories of abstraction have been dominated by larger than life male artists — in the case of abstract expressionism it is hard not to focus on Jackson Pollock or Willem DeKooning, but there were several important women working during that time as well.

This metaphor of the artist as tragic figure had credibility, including in the early days of abstract expressionism, when American society did not hold modern art or artists in high regard.

The author of Beyond the Mainstream (1997), a book about hard - to - categorize artists, Selz argues that Oliveira used abstract expressionism as a means and «went ahead to his own style.»

Drawing upon the language of abstract expressionism as well as pagan history and folklore, British artist Jessica Warboys makes use of the sea and its actions upon mineral pigments in the creation of her large - scale work.