Sentences with phrase «colored fields of paint»

After settling in New York, Kuwayama eschewed both traditional Japanese painting and Abstract Expressionism, which dominated contemporary art, and instead experimented with highly reductive painting, producing canvases with brightly colored fields of paint in horizontal and vertical compositions, such as Untitled: red and blue (1961).

So those inkblot works and the large color - field painting, all of which, on some level, are supposed to be absent imagery and with the absence of imagery they're supposed to allow for kinda transcendental experience either in the color field of a painting that's like the Barnett Newman painting or to be lost in the kind of play of shapes and colors and textures and things in a totally abstract - looking picture.

Not exact matches

This special issue will present stars of all the competing nations — in color — commissioned paintings, scouting reports and an exclusive forecast on the track and field contests by Roger Bannister.

David Einstein was one of the seminal figures responsible for the spread of Color Field painting to California in the 1960s and later.

She pictures and explains the development, facts, goals, and meaning of American Color Field and its artists, including their very characteristic painting technique.

Kenneth explains in his quotes the characteristic way of Color Field painting art style which started with their important visit to the studio of the woman - artist Helen Frankenthaler.

Although there are five generations of M3s to choose from here today, we quickly filter through to the brand - new GTS, which is painted fire orange — the same color used by the long - defunct Jagermeister racing team that fielded all kinds of fast BMWs from the 2002 to the 3.2 CSL.

Black and white drawings interspersed with full color paintings depict the life and career of this Puerto Rican baseball player, and the struggles he bravely faced on and off the field.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

In the winter months, this small island nation is transformed into a magical world of black lava fields blanketed in snow, waterfalls flowing amid shimmering ice, and night skies painted with the northern lights and their great cascades of color.

The 80 - year - old Sam Gilliam, known for his ravishing color - field canvases that he sometimes drapes sculpturally on the wall, painted a monumental canvas stained and splattered all over with hot pinks and reds, titled Red April (1970), in direct response to the assassination of Martin Luther King Jr. on April 4, 1968.

The top lot of the morning was Roy Lichtenstein's Modern Painting with Yellow Interweave (1967), which sold for $ 3.43 million, beating out out Kenneth Noland's Heat (1958), which finished at $ 3.37 million, a new record for the Color Field artist.

Although firmly rooted in color - field abstraction, Jones» paintings consistently register as «pictures» - their spatial organization hints at a window space of varying depths even while the physicality of the paint asserts the surface.

Curated by Paul Schimmel, the show charts Guston's progress as he played with Color Field painting, moved into grid - like abstractions, and came gradually closer to figuration, combining the visual languages of Abstract Expressionism and Minimalism.

This attention to compositional structure is what separated him from his AbEx colleagues... Opper somehow transcended the mythology of the AbEx period and almost clandestinely slipped into the more formalist designs of color field painting, while holding to a visual language that was both his own and an echo of Bonnard.»

Concerned with political injustice and civil rights, Jones painted his recent No Parasan paintings, which combined the process of color - field abstraction with anti-fascist flags.

Silas writes: «In the show at Elizabeth Dee, we are presented with paintings that are fields of color.

In 1966 he painted a group of soft toned colored fields often broken by three parallel horizontal lines of approximately two inches in width, floating or stacked on the surface.

Frankenthaler developed her own technique of pouring diluted paint directly onto canvas, then manipulating it with mops and sponges to create vivid fields of color.

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.

The basic point about Louis's work and that of other Color Field painters, sometimes known as the Washington Color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes the look of a finished painting.

Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s.

The origins of Color Field — one of the more intriguing forms of contemporary abstract painting — seem to lie in 19th - century Romanticism, particularly in a few radically reductive...

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

These artists are acting like industrious junior postmodernist worker bees, trying to crawl into the body of and imitate the good old days of abstraction, deploying visual signals of Suprematism, color - field painting, minimalism, post-minimalism, Italian Arte Povera, Japanese Mono - ha, process art, modified action painting, all gesturing toward guys like Polke, Richter, Warhol, Wool, Prince, Kippenberger, Albert Oehlen, Wade Guyton, Rudolf Stingel, Sergej Jensen, and Michael Krebber.

Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, Hard - edge painting, Geometric abstraction, Minimalism, and Color Field.

The Multiforms are Rothko's first true abstractions, while their palette foreshadows the palette of the color field paintings to come.

As disparate as the artistic approaches appear to be in Rothko to Richter, what united the painters throughout the period was a commitment to process, as artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometries.

Remarkably original when they first appeared in the 1960s, these paintings became the signature expression for one of the leading Color Field painters.

Important among them was the propensity to get very physical with paint and to take into new terrain the pours and drips of Jackson Pollock and the staining technique of Color Field painting.

[6] In 1970 Motherwell said, «Throughout my life, the 20th - century painter whom I've admired the most has been Matisse», [7] alluding to several of his own series of paintings that reflect Matisse's influence, most notably his Open Series that come closest to classic Color Field painting.

Painted with a palette knife during a single session in the studio, the paintings juxtapose a single, highly finessed field of color against a solid, white band commonly along the bottom or outside edges of the work.

Additionally, Tyler's paintings are reminiscent of the work from past artists such as the simplified geometric grids of Piet Mondrian's later work, color field paintings of Mark Rothko and the early abstract expressionistic work by Philip Guston.

[21] The exhibition expanded the definition of color field painting.

The use of rich fields of colors that moved his art beyond Avery's influence, his oil paintings announced further development that led him to the co-founding group The Ten, with Ilya Bolotowsky, Ben - Zion, Adolph Gottlieb, Lou Harris, Ralph Rosenborg, Louis Schanker, and Joseph Solman, aiming to liberate American painting from literal content and established equality.

Just to cover the historical end of the spectrum, there are two big museum shows: Color as Field Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at Color as Field Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at Field Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at Color Chart: Reinventing Color from 1950 to Today at Color from 1950 to Today at MoMA.

Deprived of the human figure, his aim was to remove any obstacle between the painting and the viewer, using the shimmering color to prepossess the one's visual field.

In my work of 1967 - 1968 using colored lines across thick, rolled colored fields, and painterly abstractions with allusions to nature I articulated where I thought advanced painting should go.

Before I began my fifteen series paintings, 9» x 6», large open fields with 4» borders I made a group of nine or ten large hard edge paintings in mostly primary colors and some smaller ones a few of which were in black and white.

Sometime in 1940 Rothko makes his last figurative painting, then experiments with Surrealism, and eventually does away entirely with any figural suggestion in his paintings, abstracting them further and paring them down to indeterminate shapes floating in fields of color - Multiforms as they were called by others - which were greatly influenced by Milton Avery's style of painting.

Still was considered one of the foremost Color Field painters — his non-figurative paintings are largely concerned with the juxtaposition of different colors and surfaces.

Her early work, with its sparely applied geometries and gently stated means, owes a clear debt to Rothko's mature paintings: those hovering fields of color that radiate heat, light, and mystery.

Color field painting came in at the same time as the invention of this new paint.

Color Field pioneer Sam Gilliam, for example, first applied acrylic paint to raw, unprimed canvas by staining it like a piece of fabric, as realized in the sculpture - painting hybrid Hedge Sky.

Kenneth Noland, working in Washington, DC., was also a pioneer of the color field movement in the late 1950s who used series as important formats for his paintings.

Providing a synthesis of the themes and modes of painting evident throughout her oeuvre, these relatively minimalistic compositions feature exposed fields of canvas ground punctuated with explosions of color and form.

The third painting, Gold and Black II from 1993, features a grouping of trees against a monochromatic field of saturated golden color.

Taking issue with Harold Rosenberg (another important champion of Abstract Expressionism), who wrote of the virtues of action painting in his article «American Action Painters» published in the December 1952 issue of ARTnews, [3] Greenberg observed another tendency toward all - over color or Color Field in the works of several of the so - called «first generation» Abstract Expressioncolor or Color Field in the works of several of the so - called «first generation» Abstract ExpressionColor Field in the works of several of the so - called «first generation» Abstract Expressionists.

During the final three decades of his career, Sam Francis» style of large - scale bright Abstract expressionism was closely associated with Color Field painting.

At the time Bennington was a bastion of Color Field painting and Greenbergian formalism, and although Mueller rejected many of its tenets, he was also deeply marked by the work of artists like Helen Frankenthaler and Kenneth Noland whose influence, he remarked to an interviewer much later, was «shoved down your throat» at the Vermont college.