Sentences with phrase «color painters»

The Washington Color School has its origins in the mid-1950s but was formalized as a group of six painters in the 1965 exhibition Washington Color Painters at the Washington Gallery of Modern Art, curated by Gerald Nordland.

Robert Swain has devoted a lifetime to the study of color, and inspired generations of color painters in the process.

Not long after this initial showing in Los Angeles, the Washington Color School artists came together for the 1965 exhibition Washington Color Painters at the now defunct Washington Gallery of Modern Art.

In contrast to other color painters who employ a theoretical or programmatic approach to color, she believes «color is a living thing, which gives us access to abstract ideas and concepts».

He was a great color painter.

Gene Davis, probably the most under - appreciated of the Washington DC color painters, began in 1958 to make very small paintings that employed vertical stripes and explored elemental rhythms and color resonances.

There he, Smith, and Goossen fostered one of America's most influential networks of abstract color painters.

This is the Brooklyn - based color painter's first solo exhibition with the gallery and it will feature a suite of new acrylic on canvas paintings conceived around the color gray.

Opening exactly 50 years to the day after the original exhibition, Washington Color Painters Reconsidered will look at the achievement of the six artists included in the original 1965 exhibition alongside the work of Sam Gilliam and Alma Thomas, two Washington - based artists not originally included.

The Washington Color Painters featured canvases by Morris Louis, Kenneth Noland, Gene Davis, Thomas Downing, Howard Mehring, and Paul Reed.

As Conceptualist Joseph Kosuth explained, «In the late»60s, the Greenberg regime might have succeeded in depicting Reinhardt as a minor color painter, but Reinhardt's own framing, which was as much a part of his activity as an artist as the painting of his paintings, stood in the way.»

By abandoning the anguish of New York action Painting, and instead, delighting in pure and open color, the Washington color painters changed the look of abstract art.

«Visual Sensations: The Paintings of Robert Swain: 1967 — 2010» presents fifteen gallery rooms of color work by the longtime Hunter professor in an exhibition curated by his colleague Gabriele Evertz, a pure color painter I wrote about here in June 2009.

With bold, thick lines of colors, harmonious compositions, and clean shapes, the Washington Color Painters created iconic reflections of Matisseian joy and the subconscious melancholy behind all beauty.

He was one of the most arresting and inventive color painters working in the 1960s and 1970s in New York City.

Alma W. Thomas, the Washington color painter whose second art career earned her a national reputation, died yesterday at Howard University Hospital following aortal surgery.

Pop and optical artists, who use color less as content than the so - called color painters do, nevertheless lean heavily on color to help provide the effects of identification, shock and illusion, and some of them actually use a broader range of colors than the

In 1943, Thomas had helped Alonzo Aden found the Barnett - Aden Gallery, the site of the first exhibitions of Washington color painters such as Gene Davis, Kenneth Noland, and Morris Louis.

Evertz remains one of the only color painters to examine gray's full potential vis - à - vis other chromatic hues.

The 60 - year - plus career of this great American color painter ended with the artist absorbed in deep meditation on the nature of paint as a carrier of transcendental light.

Sherrie — I am not sure what color the painters are using.

She is a key protagonist in the renowned Hunter Color School, alongside other color painters, including Vincent Longo, Doug Ohlson, Robert Swain, and Sanford Wurmfeld.

Howard Mehring (1931 - 1978) was a leading Washington DC Color painter.

The exhibition will present new works by two revolutionary New York City - based abstract color painters.

Recognition for Reed as an early member of the Washington Color School came with his inclusion in Gerald Nordland's exhibition Washington Color Painters at the Washington Gallery of Modern Art in 1965.

From Matisse on, great color painters have been dismissed as «decorative.»

A resident of Washington, Miss Thomas is considered as an artist working in the style of the Washington school of color painters, which includes the late Morris Louis, Kenneth Noland and Gene Davis.

The label came about after Washington Color Painters, a 1965 exhibit at the Washington Gallery of Modern Art that traveled widely.

It showed all the colors a painter could ever need.

His work is enigmatically structured and unabashedly chromatic... He was, and still is, the only original member of the Color Painters to continually use Nature itself as a referent in his work.»

Dagley writes: «Reed is the last surviving participant of the Washington Color Painters exhibition, a pivotal event in the annals of the Washington, D.C. art scene... Of all the Washington Color Painters, Reed employed the most non-programmatic approach to painting.

A decade later he participated in the «Washington Color Painters» exhibit at the Washington Gallery of Modern Art in Washington, DC, which traveled to other venues around the US, and launched the recognition of the Washington Color School as a regional movement in which Davis was a central figure.

JAMES C. MEADE FRIENDS» LECTURE Wednesday, May 2, 6 pm The Washington Color Painters and the Legacy of Paul Reed: A Panel Discussion with Jean Reed Roberts and Deedee Wigmore Free for members; $ 5 for non-members.

The Washington Color Painters and the Legacy of Paul Reed panel will complement the current exhibition, The New Art: A Milestone Collection Fifty Years Later.

Tags: Alma Thomas, Conner Contemporary Art, Gene Davis, Howard Mehring, Jeremy Blake, Leo Villareal, Morris Louis, National Gallery of Art, Washington Color Painters, Washington DC

The Smithsonian Institution, which benefitted from a generous amount of his work donated to the museum after his death in 1985 at 64, may have missed the 50th anniversary of the landmark «Washington Color Painters» exhibition last year, but is making up for it with the newly opened «Gene Davis: Hot Beat» at its Smithsonian American Art Museum.

In 1965, Louis and Noland, as well as Gene Davis, Howard Mehring, Thomas Downing, and Paul Reed, were featured in an exhibition at the now defunct Washington Gallery of Modern Art, called the «Washington Color Painters,» and since then, this group of artists, along with a few others, has been known as the Washington Color School.

Wednesday, May 2 6 pm The Washington Color Painters and the Legacy of Paul Reed: A Panel Discussion with Jean Reed Roberts and Deedee Wigmore Free for members $ 5 for non-members Tickets available at the door and seating is first come, first served.

As the international art world began to take notice of the Washington color painters, his career seemed to flourish.

Oh, there are catalogues, Samadi says, such as the one for the landmark 1965 exhibition «Washington Color Painters» at the Washington Gallery of Modern Art (which put Davis on the map, along with Morris Louis, Kenneth Noland, Howard Mehring, Tom Downing, Donald McCarten and Paul Reed), but no definitive, overarching text on the genre.

He attended McKinley Hich School (as did the color painters Gene Davis and Paul Reed).

A decade later he participated in the «Washington Color Painters» exhibit at the Washington Gallery of Modern Art in Washington, D.C., which traveled to other venues around the US, and launched the recognition of the Washington Color School as the regional movement in which Davis was a central figure.

However, what propelled the WGMA to the forefront of the artistic community was its 1965 breakthrough show, «Washington Color Painters.»

The Washington Gallery of Modern Art had a number of exhibitions which traveled nationally and internationally, most notably the historic «Washington Color Painters» show in 1965, which formalized recognition of the Washington Color School of painters.

Long a color painter in watermedia, Colleen shifted her focus to oil several years ago and has not looked back since.

Because many in the art world feel that works by blacks and women have not in the past received the attention due them, and because many people are now working to right that situation, the works of Alma Thomas - a black woman Washington color painter - are certain to be closely studied in the years to come.

San Francisco Museum of Art, San Francisco 1965 The Washington Color Painters, Washington Gallery of Modern Art, Washington, D.C.; University Art Museum, University of Texas at Austin; Art Gallery, University of California, Santa Barbara; Rose Art Galleries, Brandeis University, Waltham, Massachusetts; Walker Art Center, Minneapolis 1966 Sculpture and Painting Today (selections from the collection of Susan Morse Hilles).

(the following is an excerpt from: The Vincent Melzac Collection, Part One: The Washington Color Painters — catalog presented by the Palm Beach Sponsers Committee of the Museum of the Palm Beaches, Inc..