Sentences with phrase «as an abstract painter after»

Freilicher started out as an abstract painter after studying with Hans Hofmann in the late 1940s, but turned somewhat abruptly to representational painting, Russeth wrote for ARTnews, after seeing the Museum of Modern Art's 1948 Bonnard retrospective.

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.

First things first: You are still missed as one of the most interesting abstract painters working after the Second World War.

Although Ms. Buchanan came to art as a second career, after a decade as a public health educator in East Orange, N.J., she sought out professional instruction and made many insider connections, taking classes with the abstract painter and activist Norman Lewis at the Art Students League of New York and finding another mentor in Lewis's friend Romare Bearden.

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.

Frankenthaler, Louis and Noland formed the core of a group known as the colour field painters, though the critic Clement Greenberg preferred one of his own clunking coinages, «post-painterly abstractionists», meaning that after the «painterly» surfaces of the abstract expressionists, the purely colour - based paintings of Noland and the others marked out a different and more advanced stage of art's march to absolute abstraction.

Born in 1940, he started as an abstract painter, and he took instantly to the movement after seeing the slit canvases of Lucio Fontana.

After beginning as a figurative painter with socio - political themes, he won an international reputation as an abstract artist.

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

Trained as a realist painter, he became a pioneering abstract artist after seeing works by Van Gogh, Gauguin, Matisse, Picasso, and other European modernists at the Armory Show in New York in 1913.

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.

After college I was drawn to abstraction and since then have continued to work as an abstract painter.

After a few moments amongst the paintings in his recent exhibition at the Marian Goodman Gallery it becomes clear that Gabriel Orozco doesn't intend to take up a dialogue with the history and medium of painting; he is painting not as a painter, but rather employs the format of abstract painting as a possibility for depicting his geometrical thought.

After starting out as a purely abstract painter, Ms. Hartigan gradually introduced images into her work.

And as the prices for Pollock and Rothko paintings keep setting new records, auction after auction, many collectors are now looking at other important abstract painters from that era who have, until now, been overlooked.

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.

Now seen as one of the most original abstract painters - indeed one of the most innovative of all 20th century painters - his style of concrete art, unfortunately, did not begin to be properly understood until a retrospective of his career was staged at the Musee National d'Art Moderne in Paris in 1958 a year after his death.

Sadly, Van Doesburg passed away a year after issuing his manifesto, but his ideas were continued and developed by the Abstraction - Creation group - led by the Belgian artist Georges Vantongerloo (1886 - 1965) and the French painters Jean Helion (1904 - 87) and Auguste Herbin (1882 - 1960)- whose members included the cream of European abstract sculptors, such as Jean Arp (1886 - 1966), Naum Gabo (1890 - 1977), El Lissitzky (1890 - 1941), Antoine Pevsner (1886 - 1962), Barbara Hepworth (1903 - 1975) and Ben Nicholson (1894 - 1982).

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.

After a period of working as a commercial artist in Chicago, she returned to painting in 1912 and read the first translation of the abstract painter Wassily Kandinsky's «Concerning the Spiritual in Art.»

Identified as part of the California hard - edge painters, after she left surrealism - influenced work behind, Windblown has an unmistakable lightness and seems to foreshadow later works that more closely incorporate references to the landscape into her geometric abstract paintings.

After his death, Reinhardt's work was shown all over the world, positioning him as one of the most important abstract painters.

After all, many abstract painters have their unchanging idioms, their drips, stripes or spots, their blurry oblongs, geometric forms or transparent veils, just as she has her high - chrome sampling.

Following separate experiments by other abstract painters like Hans Hofmann (1880 - 1966) and Lee Krasner (1908 - 84), Pollock himself began employing his splash / drip method in 1947, partly as a result of the surrealists» experience, and also (reportedly) after seeing how Navajo Indians in New Mexico made their sand paintings by sprinkling earth onto the ground to form intricate patterns.

Considering that I had always thought of Amy Sillman as an abstract painter, I was surprised to encounter, after seeing her mid-career retrospective at the Hessel Museum of Bard College, an oeuvre that was entirely about the body, touch, and the awkwardness of human interaction.

After a distinguished early career as an abstract painter, Richard Diebenkorn (1922 — 1993) focused almost exclusively on the human figure from the mid-1950s to the early 1960s.

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.»

Indeed, the technology of the time was entitling new forms of image making and consumption to the general public; it seemed, as the story goes, painters making pictures, abstract, figurative or otherwise, wasn't taken seriously again until a decade after considering Philip Guston's 1970 Marlborough Gallery show.

Ayres has died at the age of 88 after a long, vibrant career as one of Britain's leading abstract painters