Sentences with phrase «circle of abstract artists»

Despite his involvement with the inner circle of abstract artists, he mostly flew under the radar until the end of his career.

In 1951 British artist Kenneth Martin published an article entitled «Abstract Art» in the publication Broadsheet No. 1: Devoted to Abstract Art in which he described the work of this emerging circle of abstract artists.

Not exact matches

When he landed in New York, in 1976, Little was taken under the wing of the older artist Al Loving, who drew him into the circle of such black abstract artists as William T. Williams, Jack Whitten, Mel Edwards, Fred Eversley, and Bill Hutson.

Hon Chi Fun is one of Hong Kong's most respected visual artists, best known for his abstract paintings and serigraphic prints that reflect his interest in Taoism and phenomenology through the expression of circles.

Land was cheap and Zacharias's circle of abstract expressionist artists steered him to the area each weekend.

About five years ago, the artist Gabriel Orozco started printing colorful stickers that mimic the geometry of his abstract paintings: semicircles and quarter - circles in red, gold, white and blue.

From friendship circles to plaster of paris hands, abstract sculptures to life - sized Olympians, each class took a different approach to the chosen theme, collaboratively developing exciting ideas with artists and teachers which reached the heart of the Olympic values.

Some abstract artists are involved in your site and part of my artist friends circle — they have advised me to look you up through linked - in and facebook.

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.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Circled Encerclé is an original, one - of - a-kind abstract painting signed by artist Nathalie Gribinski.

Moving in bohemian circles, he befriended emerging abstract artists of the day, including Mark Rothko and Barnett Newman.

Ferren was active in the European avant - garde circles, and produced paintings influenced by the abstract geometry of artists such as Piet Mondrian, Wassily Kandinsky, and Robert Delaunay.

His sophisticated paint handling allows the artist to be as abstract or realistic as he deems appropriate; the subject matter varies from foreshortened stacks of wood, to cracked and dried dirt - scapes, to WWII airplanes, to still - lives of tumbling bowls and complex fields of gray - scale circles.

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.

«It is not clear when the essentially formalist notion of inner light became a commonplace in the criticism of Venetian painting of the sixteenth century, but it was certainly a major concern of the Bavarian painter Max Doerner, whose handbook The Materials of the Artist and Their use in Painting, with notes on the Techniques of the Old Masters (1921), had been published in an English translation in New York in 1934 and came to be much used in the circle of the abstract expressionists.

So here we are in 2015, with a group of abstract artists in a show that, contrary to those early embattled years of the American Abstract Artists, seems to embrace the messiness, even as the singular form of the circle has been forwarded by curator Rachel Nackman as the organizing principle for the exhiartists in a show that, contrary to those early embattled years of the American Abstract Artists, seems to embrace the messiness, even as the singular form of the circle has been forwarded by curator Rachel Nackman as the organizing principle for the exhiArtists, seems to embrace the messiness, even as the singular form of the circle has been forwarded by curator Rachel Nackman as the organizing principle for the exhibition.

Acclaimed artist George Morrison graduates from the Minneapolis School of Art and later moves to New York, where he joins a circle of abstract expressionists that includes Jackson Pollock, Franz Kline, and Willem de Kooning.

Name given by the Russian artist Kasimir Malevich to the abstract art he developed from 1913 characterised by basic geometric forms, such as circles, squares, lines and rectangles, painted in a limited range of colours

The Canadian - born, Houston - based artist's first solo show in Los Angeles features a series of new abstract paintings as well as a curious sculpture titled «The Absurd Vehicle,» a seemingly enticing objet whose many wheels and impractical body look as if they would simply send a rider scurrying in circles.

Chisholm summons the spectre of Reynolds, studying the earlier artist's palette, lifting Reynolds's notoriously unstable paint mixes (which have been prone to serious colour deterioration and surface cracking, infamous in conservation circles) and recreating each painting himself both as exact figurative copies and, through this deft research --- this inhabitation of Reynolds — as abstract works.