Sentences with phrase «beginnings of abstract painting»

The monochrome canvases recall especially the bold beginnings of abstract painting.

Not exact matches

This is a so - called «abstract» or non-representational painting from the schools of modern painting that thrived at the beginning of this century and into the present time.

Looking closer, Everhart began to see echoes of Chinese ink paintings and the black - and - white paintings of abstract expressionists of the»40s and»50s, such as Franz Kline, Willem de Kooning and Robert Motherwell.

Of his work Erikson says: «My paintings are abstractions in the sense that at some point in the painting process I'm abstracting from nature, whether consciously at the beginning or through some experience or memory I bring into the studio during the evolution of the paintinOf his work Erikson says: «My paintings are abstractions in the sense that at some point in the painting process I'm abstracting from nature, whether consciously at the beginning or through some experience or memory I bring into the studio during the evolution of the paintinof the painting.

Similarly, with the new abstract paintings, many of which stand over 8 feet tall, he begins at eye level, only later mounting a stool to reach the top of the canvas.

Opalka later earned a degree from the Academy of Fine Arts in Warsaw and began experimenting with abstract and monochrome paintings, which he called Chronomes.

Around 1970, while in the John St. studio, Frances began working on large horizontal abstract paintings that were involved with ideas of gravity, slow painting time, indeterminate color, and trying to create a complex painting space that appeared geometric, but alternately shifted into a deeper space.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

Beginning in 1960 Schapiro gradually eliminated the abstract expressionist brushwork from her paintings, introducing a variety of geometric forms.

Argue's large - scale paintings begin with universally recognizable images and scenes of iconic artworks — Picasso's Demoiselles d'Avignon, for instance — but with a veil of abstracted letters superimposed on top.

In 1969 I began a continuing series of stain paintings combining stained surfaces, with hard edged colored bands, painted in different sizes across the bottom (some of which had abstract writing in them) and later, colored bands of different lengths and widths on the edges.

For an abstract painter today experiencing for the first time, Monet's large scale paintings in the room called: Studies: Water Lilies, Weeping Willows, and Irises 1914 - 1919, beginning the second half of the exhibition there can only be a profound shock of recognition.

These important exhibitions bring the faint hope that quality in abstract painting might begin to re-emerge finally from the Duchampian eclipse of the past twenty odd years.

The bindi becomes a language or code we begin to read through works that elicit formal connections with abstract expressionism, op art, and geometric abstraction from Western painting and the tantric and neo-tantric traditions of India.

In 1967 Christensen began using spray guns to draw colorful stacks, loops and lines in paintings that were among the most original abstract paintings of the decade.

Hopefully this burst of intimately scaled creativity by Joanne Greenbaum — as 1612, her first iteration of small - size abstract paintings at D'Amelio Terras (on exhibit through November 12th)-- is just the beginning.

Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or cardboard taken from packing boxes at the bakery where he worked.

He also began a series of abstract paintings whose surfaces he slashed, as if the cut embodied the body and soul of these paintings, their form and meaning.

Renowned for her challenging optical and hard - edged abstract paintings, Edna Andrade (1917 - 2008) lived and worked in Philadelphia beginning from the time she was a student at the Pennsylvania Academy of the Fine Arts.

This selection of early paintings documents a conceptual shift in the artist's work as the landscape imagery offered by earlier paintings begins to incorporate and is consumed by the symbol - laden abstract compositions that would become a recurring theme throughout his career.

He began his career in the arts studying painting in the late 1940s and early 50s, the heyday of abstract expressionism in New York, first at the Art Students League with Morris Kantor and then at Cooper Union with Steve Wheeler.

While continuing this dialogue with the history of aesthetics, Paintings represents a shift in McElheny's work towards a focus on the history of painting, and proposes that there is ongoing potential to be found in the utopian and revolutionary desires that gave rise to abstract painting at the beginning of the twentieth century.

Metier begins with an actual subject, and then, using her expressive brushwork, turns it into an abstract composition; though more representational than usual for her, these paintings were still very much a part of her classic style.

Abstract artists famed for their monochrome paintings include Kazmir Malevich, Yves Klein and Ad Reinhardt, and Group Zero, a worldwide network of abstract artists in multiple mediums begun by German artists Heinz Mack and Otto Piene.

In the late 1940s, she began teaching at the California School of Fine Arts, where she met Clyfford Still, whose abstract expressionist paintings had an important influence on her approach to sculpture, and she began to allow more room for the accidental and the spontaneous.

Many now see Wool as the heir to Andy Warhol, the next great link in an American tradition of painting that began in the postwar years of abstract expressionism and pop art.

He liked the effect, and made it his own, combining the wiped marks with sprayed loops to create complex abstract fields that began to look, squinted at from a distance, like black and white reproductions of paintings by Franz Kline or de Kooning.

My interest in the physical, tactile qualities of painting has been there from the beginning, and became more and more prominent, even in my abstract works.

Recently, we began collecting the work of contemporary self - taught or outsider artists and the abstract paintings and sculpture created by a group of leading American modernists who gathered in Bennington in the 1950s through the 1970s.

Much later, he was to draw on these dual interests in his oil painting Ground, begun in 1971, though altered in 1995, in which the plan of a football pitch is reduced to a virtually abstract composition.

Having abandoned painting for over two decades, Mack resurrected his practice in 1991 and began his Chromatische Konstellation (Chromatic Constellation) series of large - scale paintings and works on paper that explore colour, tonal scale, light, rhythm and abstract patterning, which he continues to this day.

Soon after the month - long Corcoran Gallery solo exhibition, Jane Frank began to apply not just spackle but a variety of other materials - sea - weathered or broken glass, charred driftwood, pebbles, what appears to be crushed graphite or silica, and even glued - on patches of separately painted and encrusted canvas (canvas collage)- to her jagged, abstract expressionist paintings.

In the 1960s Inokuma began to paint works based on imagined aerial views of cities, reducing three dimensional topography to two dimensional patterns which at once suggest the energy and visual complexity of the urban fabric yet remain completely abstract.

An exciting exemplar of contemporary abstract painting, Caio's new works like a release of Apollonian exuberance, begin as checkerboards of light, broad stripes, and end in smooth symmetrical swathes of colour.

Scribbled paint strokes blur the punchlines of comics, drips of white paint collide with a thick red line squeezed right from the paint tube, and bits of headlines such as «Dandruff may be the beginning of baldness» jump out amid abstract patches of pink, red, and yellow.

I make a hole and pass through» — Anselm Kiefer Made using a heavily - encrusted mixture of shellac, emulsion, acrylic, ash and sunflower seeds, Am Anfang (In the Beginning), is a large, almost completely abstract painting that Anselm Kiefer made in 1998.

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.

Believing in an absolutely pure, ordered and balanced abstract art, in 1950's Reinhardt began his experiments using the single color in the series of paintings.

Ryman was intrigued by the abstract expressionist works of Rothko, de Kooning, Still and Pollock and became curious about the act of painting and began experimenting in 1955.

What once began as a career full of surrealistic and photorealistic paintings evolved through time into the art that he creates today, which is abstract.

Their investigations into gestural, expressive abstract painting occurred simultaneously with similar searchings by New York artists, but by the end of the forties, the San Francisco group, led by Park, began to reintroduce the figure.

He began his career as a painter, drawing on the work of the abstract Expressionists, but as time went on he became increasingly dissatisfied with painting, a medium that he came to believe was a thing of the past.

While his work of the 1950s and 1960s shares the aesthetic and conceptual concerns of abstract expressionism, Bluhm had also begun to test the limits of this particular approach to painting, most notably in the «poem - paintings» he created in collaboration with Frank O'Hara.

The recent debate on Abcrit about Howard Hodgkin made it pretty clear to me that many abstract painters begin with light, and are attempting to paint the effects of light.

Travelling through the past 50 years of art history and 50 years of Ligon history, you begin to witness how the artist has responded and «found» a voice to explore different trends, from his early interest in abstract painting to his discovery of conceptual art and film.

By the late 1940s his paintings and works on paper were consistently abstract and, in a development shared with members of the PLASTICIEN group, became more geometrically structured beginning in the 1950s.

In the 1950s, Hare's work turned away from the general abstract trajectory of modern American art when he began painting mythological scenes.

They began to collaborate when Mangiarotti asked Klein to recreate once of his abstract paintings on the rotating room dividers of a Milanese apartment — his first commissioned work.

After fifteen years of acclaimed abstract painting, he began creating large - scale nudes and other figural images, often in grisaille or a severely restricted color palette.

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.