Sentences with phrase «drip technique»

The pioneering drip technique of Jackson Pollock introduced the notion of Action Painting, where the canvas became the space with which the artist would actively engage.

His early abstract work consists of amorphous shapes and experimentation with drip techniques.

Mr. Onslow Ford shared the Surrealists» interest in dreams and the unconscious, and began making spontaneous paintings by pouring paint onto canvas in a process called coulage, predating Jackson Pollock's drip technique by a decade.

In 1940 Hofmann created his painting «Spring» (not part of this show) by dribbling, splashing and pouring paint directly onto his canvas, anticipating by several years the signature drip technique used by Jackson Pollock.

For the cold drip technique, water is dripped through the coffee to a glass container below.

At the show's opening Flack was eager to show me how this canvas was punctured near the bottom by a stick she was using in imitation of Pollock's drip technique on a nearby painting in her then cramped studio.

In several works from 1972, Mr. Overstreet switches to an explosive, staccato drip technique, whose intimations of starry skies are regularly contradicted by dividing lines or added segments of canvas, leaving us suspended between deep space and eccentric objects.

While earning his BFA from the Universidad de Guanajuato and his MFA in Arts and Technology from The University of Texas Dallas, Nieto was exposed to the masters of Modern art who have shaped both his aesthetic and process such as Jackson Pollock's controlled drip technique, Robert Motherwell's graphic cubist collage, and Willem de Kooning's bold sense of color, among others.

Having a workspace of his own, Pollock was able to lie out raw sheets of canvas and had the chance to let his abstract paint - dripping technique take flight.

Polyurethane pours like Night Sherbert A (1968) read like a kaleidoscopic, legato reimagining of Jackson Pollock's famous drip technique.

The eccentrically made paintings suggest that Japan produced Abstract Expressionism's strongest second generation, the artists who most convincingly and directly extended Pollock's innovative drip technique.

Each artist had a signature style, from Pollock's spontaneous, chaotic drip technique to Rothko's atmospheric squares.

His painting Spring (1940) was among the earliest works to employ the paint - dripping technique associated with the American painter Jackson Pollock.

Under his guidance, Frankenthaler was electrified by Pollock's radical drip technique: she later described her reaction to seeing his works in 1951 «as if I suddenly went to a foreign country but didn't know the language, but had read enough and had a passionate interest, and was eager to live there.

Sobel pioneered the iconic drip technique that Pollock made famous.

Jackson Pollock's drip technique involved pouring industrial paint directly on raw canvas, laid on the floor.

In a description from the gallery, Line into Color, Color into Line is a show that traces the evolution of Frankenthaler's signature drip technique.

A strong physical dimension is associated with the development of his works: very large canvases, enormous sculptures created with drip techniques and experimental ceramics created in a sequence of several firings.

He developed the drip technique while working in his house in Springs, NY thus laying the groundwork for Abstract Expressionism and solidifying his «signature» gesture.

Pollock's splatter and drip technique, with its explosive results, captured the curiosity of the American public, especially after the photographer and filmmaker Hans Namuth published footage of the artist at work in his Long Island studio.

Benglis adopted the dripping technique but moved away from the canvas - based approach, using a balance of spontaneity and precision to create works that explore the three - dimensional.

Leaning over unstretched canvas laid flat on the ground, the American artist experimented with the movement, speed, density, and height of paint in his drip technique.

Almost 5 x 8 feet in size, these drawings combine acrylic squeegee and drip techniques with pastel and charcoal mark making.

Although most of us automatically think of Jackson Pollock and his dripping technique, Abstract Expressionism was more of a philosophy than a name for a unified visual identity.

Number 32 is one of a small number of more intimate 1949 paintings in which the artist more fully explored the subtleties of the drip technique.

The influential art critic Clement Greenberg said that he saw Hofmann use the drip technique in 1943.

Since she created a bridge between Abstract Expressionism (specifically Pollock, with his drip technique) and later Color Field painting with her innovative staining method with thinned, poured paint, this is likely to have contributed to her slightly precarious reputation.

This show highlights individualized methods that result in unique textures, like Amanda Joy Brown's drip technique or Warren Greene's process of pushing acrylic through mesh.

The Peabody Group # 32 (1992) utilizes a drip technique that suggests Abstract Expressionism and post-painterly abstraction.

Ms. Frankenthaler accomplished this in 1952 with «Mountains and Sea,» in which she in essence combined the drip technique of the Abstract Expressionist Jackson Pollock and the stately fields of saturated color deployed by his colleagues Barnett Newman and Mark Rothko.

Though she's painted using a drip technique since the 1980s to varying effect, these newest works invigorate that practice.

Fittingly, her best - known painting, Mountains and Sea, is also the piece by which the Abstract artist established her signature drip technique.

Mathieu also claimed to be the first to practice «Tubism» — squeezing paint directly from the tube — and the drip technique, though the latter is widely attributed to Jackson Pollock.

But Ossorio's drips come off looking more like those of Janet Sobel, who is thought to be the originator of the drip technique.

Francis» drip techniques are most certainly a connected to the influence of American Abstract Expressionism.

He wasn't the only artist ever to have employed a drip technique, which he continued to use in the 1950s to make abstractions alongside the black paintings.

His drip technique accomplished something unprecedented.

(1992) utilizes a drip technique that suggests Abstract Expressionism and post-painterly abstraction.

If Pollock's dripping technique is the most famous American manifestation of the European surrealists» process of creating from the subconscious mind, then Motherwell's approach may well be the most intellectual.

Action Painting, a movement clearly defined by then, included artists whose style was gestural and invasive, manifested in the use of the drip technique or rhythmical brushwork, as well as artists whose approach was more contemplative, characterized by large, soft - edged fields of color.

Like Hesse, Benglis» relation to abstract painting was paramount; the 1967 Pollock retrospective at MoMA was a watershed for that generation of artists who extrapolated the possibilities in process - oriented sculpture from the drip technique.

He developed a method that was later dubbed the «drip technique» in which he dripped paint onto a canvas that was spread out on the floor.

The largely unabsorbed polish in works on canvas such as «Fresh Attitude» creates fat streaks of color that extend beyond the bottom of the canvas to suspend in space like tiny, fragile stalactites, evoking the drip technique of Action Painters such as Jackson Pollock.

Sea Change was part of a breakthrough group of early «transitional» works that Pollock made in 1947, which led away from figuration toward a fully abstract application of his drip technique.

Aside from these two artists, there were other painters who tried to create their own breakthroughs including the «pure psychic automatism» by Andre Breton, and the drip technique by Pollock.

(Compare the anthropometry of Yves Klein and the drip technique of Jackson Pollock's paintings.)

On Gear's part, it was a rather timid excursion into, and retreat from, the somewhat fuller — though I would argue still partial — involvement with abstract painting and process that his American peers were getting into (Gear showed with Pollock in New York in 1949, but was scornful of his drip technique).