Sentences with phrase «earlier generation of painters»

It was art critic Frank O'Hara, writing for Artnews, who recognized «a big talent at play»; realizing a significant departure from the earlier generation of painters, O'Hara described Rauschenberg as the enfant terrible of the New York School.

Hinged on the earlier generation of painters like Andy Warhol, Hans Hartung and Mary Heilmann, van Genderen mechanized one expressionistic gesture for the purpose of reproducing it across the suite with largesse.

Not exact matches

Stefan Szczesny September 13 — October 9, 2012 The exhibit explores the early 80s, when Szczesny emerged as one of the protagonists of a young generation of bold figurative painters in the German - speaking world who came to be known as «Neue Wilde.»

She is no more representative of her generation than De Keyser is of his, but like him she has been a favorite of fellow painters, most notably, in her case, Mary Heilmann, whose gloss of Greenbaum's early work is worth quoting here, for the sake of its descriptive energy (which matches the nondescriptive energy of the paintings) and the way it highlights how Greenbaum's work has changed: «Joanne seemed to be remembering the atmosphere of a festive female experience of the 60s.

And it was not until the early 50's, well after the leading painters of his own generation had established themselves, that Porter began to exhibit regularly.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Coinciding with Frieze Masters, the exhibition of these important series will provide a renewed perspective in which to consider the significance of the artists» earlier works and their influence on subsequent generations of painters and photographers.

Early in her career she developed the stain painting technique, which became a catalyst for a generation of color field painters.

Only a generation earlier, the painter Beauford Delaney gained access to the new Whitney Museum of American Art by working as a guard and performing odd jobs.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872 — 1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters.

Born in Tupelo, Mississippi and raised in Louisville, Kentucky, Gilliam has been based in Washington D.C. since the early 1960's, and is part of a generation of Washington - based painters who have explored the boundaries of color, scale, and shape in painting.

Influential on other artists after Morris Louis and Kenneth Noland first saw her work in the early 1950s, since 2000 her art has inspired a new generation of younger painters such as Carrie Moyer, Jackie Saccaccio, and Mary Weatherford.

The immense influence on generations of young artists is additionally straitened by the fact that Eric Fischl is still innovative, progressive and one of the most influential figurative painters of the late 20th and early 21st centuries.

Painting, however, continues to have a large public and young artists setting out to be painters now need more than ever to see how artists of earlier generations successfully resisted the status quo and remained outside what evolved into an academic style, for this is what much of the conceptual, film and photographic work has become; merely another academy.

I love Julian Schnabel's tenacious exploration of painting's parameters, but I've always wrestled with his grandiose sentimentality and unselfconsciously earnest approach that recalls the old - fashioned bravado of earlier generations, particularly the Abstract Expressionists and German postwar painters.

Though often a misfit in the group, Louis Michel Eilshemius belonged to the impressionist - inspired generation of early 20th - century American landscape painters.

The painting scene in San Francisco in the»40s centered around a small, tight - knit group of teachers and serious students at the California School of Fine Arts (renamed the San Francisco Art Institute in 1961), who were influenced by Clyfford Still (1904 - 1980), a major first - generation abstract expressionist painter, who taught at CSFA from 1946 until the early»50s when he moved to New York.

His extensive work in portraiture — in mediums ranging from painting to photography to film to prints — has remarkable historic and aesthetic resonance with portraits by American painters of an earlier generation in the Frye collection.

In 1961, the noted critic Thomas Hess extolled Pace's place in this milieu, writing in the introduction to a show of his work: «Pace is a brilliant member of the second generation of New York School painters [who] burst on the scene in the early 1950s, fully made, as if from the forehead of the Statue of Liberty.»

Moon was one of a generation of British abstract painters that emerged in the early 1960s and included Robyn Denny (born 1930) and John Hoyland (born 1934).

John Hoyland, born in 1934, belongs to that generation of British painters whose careers were decisively affected in the late fifties and the early sixties by the impact of American painting since the war.

That unabashed bombast has made Wiley a walking superlative: the most successful black artist since Basquiat, possibly the wealthiest painter of his generation, certainly the one who made his name earliest (he was 26 for his first major solo show), a gay man who has become the great painter of machismo for the swag era, a bootstrapper from South Central who talks like a Yale professor (much of the time), a genius self - promoter who's managed to have it both ways in an art world that loves having its critical cake and eating the spectacle of it, too, and a crossover phenomenon who is at once the hip - hop world's favorite fine artist (Spike Lee and LL Cool J own pieces) and the gallery world's most popular hip - hop ambassador.

Perhaps more than any other sculptor of his generation, he made manifest in his sculpture of the early 50's the whole, abstract and essentially non-Cubist space that was being developed by the Abstract Expressionist painters.

In the early fifties planar abstractionists, like Newman and Rothko, stuck with their hard or soft geometry formats, working beyond the constructive devices of cubism and setting the agenda for the next generation of American painters, the sixties high modernists.

Joyner's «four generations» begin with Spiral collective painters such as Norman Lewis and Richard Mayhew, who met in the early 1960's in New York at the studio of Romare Bearden to discuss what it meant to be an artist of color at the clarion call of the civil rights movement.

Though by 1952 Bischoff would begin painting figuratively and go on to influence the next generation of painters himself, these earlier paintings illustrate many of the techniques and preoccupations that characterize his later work.

Petzel took a revelatory look at the late, great Austrian painter Maria Lassnig's years in New York, from 1968 to 1980, Matthew Marks offered a treatise on the ultra-controlled, wildly underrated Peter Cain, Galerie Lelong presented a display of Ana Mendieta's vital films, Metro Pictures showed deep cuts by Bas Jan Ader, Craig F. Starr delivered a master class on Sylvia Plimack Mangold's early paintings of floors and rulers, Hauser & Wirth hosted not one but two incredible Philip Guston shows (the second, of Nixon drawings, is still on view, offering psychic balm in these dark times), Questroyal organized a jam - packed assemblage of paintings by the indefinable American mystic Ralph Albert Blakelock, and Jeffrey Deitch brought the traveling retrospective of the Pictures Generation original Walter Robinson to Robinson's hometown.

The overall impression is of the art of an earlier generation filtered through a young painter's own nostalgia for the era of her childhood.

In 1961, the critic, Thomas B. Hess, called Pace a «brilliant member of the second generation of New York School painters that burst on the scene, in the early 1950s, fully made, as if from the forehead of the Statue of Liberty.»

The exhibition (along with an earlier Cezanne show at Galerie Bernheim - Jeune) proved to be a seminal event and a huge inspiration to many painters of the new generation.

Bavington, who lives in Las Vegas, makes a good example of how younger abstract painters reinterpret the styles of an earlier generation.

The Boston - based Lemieux got her start in New York in the early»80s, during which time, as an assistant to David Salle, she aligned herself with the young generation of painters and Conceptual artists associated with Mary Boone Gallery and Metro Pictures.

In the early 30's he moved to New York where he became introduced to a New York's generation of the painters.

Since the earliest times - from the cave artists to the modern painters - artists have enriched the plastic vocabulary and each generation of man has seen through the eyes of the artists of the preceding generation.

Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever - changing new work.

(Two painters of an earlier generation, American Agnes Martin and Italian Emilio Vedova, were awarded Golden Lions, top Biennale awards for lifetime achievement.

Fridriks» approach could thus be seen as a way out of the predicament which drove Jack Tworkov, one of the first generation action painters, from his «' hot» gestural painting» of the 1950ies and early 60ies to his «' cool» measured painting» after 1966.

Richard Pousette - Dart was a survivor from a generation of painters ill - fated by early death and suicide, those children of the Atomic Age deemed the «Irascibles» (immortalized in Nina Leen's photograph).

«By inaugurating the new gallery with a joint exhibition of historical works by Cindy Sherman and David Salle,» Montagu explains, «we hope to give a renewed perspective in which to consider the importance of the artists» earlier works, and their influence on subsequent generations of painters and photographers.»

Several of the New York School painters who first made American art a cultural force in the world were in rebellion against an earlier generation committed to social activism in art and communism in politics.

The use of enamel conveys Allen's refusal to be medium specific and make a fetish out of oil paint, as did earlier generations of English painters.