Garish by comparison with the artist's
earlier figure painting, the vibrant colours of Seated Woman overlap to confuse the relationship between the figure and its background, causing abstract sections of colour to protrude and recede independent of the form they describe.
Not exact matches
Investor lending rose in March for the first time in more than a year, official
figures earlier this month showed and asking price
figures from consultancy SQM Research
paint the picture of a market that is still strong.
It was indeed only in the
early Renaissance, in the liturgical drama which influenced the subject matter of the newly recovered art of
painting — where the resurrection did get attention — that Magdalene was returned to prominence and became for the first time an officially popular
figure.
Rauschenberg's
early combine
paintings from the 1950s and»60s can sell for eight -
figure sums, but his most recent works are priced at around $ 500,000.
Her latest canvases in bold, colorful patterns, which she completes at a ferocious pace, retail in the mid — six
figures at New York's Gagosian Gallery and London's Victoria Miro; one of her rare
early paintings sold at auction in November 2008 for $ 5.79 million, a record at the time for a living woman artist.
In the show at Betty Cuningham Gallery you are exhibiting both recent
figure and
earlier still life
paintings.
This period, and these female
figure paintings, set the stage for Tworkov's transition into larger - format canvases in the
early 1950s, when he loosened his line and
painted mostly abstract compositions, relying on the
figure.»
Even
earlier works like Fable II and Rite, both from 1957, earn their titles by the nonspecific figurative connotations of their bunched shapes; it would take only a little bit of further manipulation to turn those forms into the kind of stylized
figures found in the
paintings that Jan Müller was making around this time, or Bob Thompson just a little later.
Terre verte also
figures in two single - panel monochromes whose composition — a large rectangle or square resting on a smaller rectangle — recalls Marden's
early paintings and drawings, particularly their disclosure, in the lower rectangle, of the many layers used to build up the
painting.
The three
paintings and a collage, all featuring the same
figure with folded arms, seem to be rooted in the painterly tradition reminiscent of Otto Dix and even
early Tair Salakhov.
... From the
early colorful efforts to the final... marvelously rough
paintings accompanied by simple
figures, [his works] clearly need to be organized within a revised understanding of the art of his time.»
During the late 1950s and
early 1960s Frank Stella was a significant
figure in the emergence of Minimalism, Post-Painterly Abstraction and Color Field
painting.
Also Monday, an eerie 1991
painting of a moonlit white canoe with a
figure slumped in its hull fetched almost $ 26 - million (U.S.), a new world record for the artist, Peter Doig, 56, who spent most of his
early years in Canada.
His
early work passed though the styles of impressionism, Orphism, Dada, Surealism, and verbal and visual collagel his later art extended from composition that superimpose linear
painted figures upon one another (and, sometimes, several of those on apinted ground), to
painting based on pinup nudes and commercial illustrations and, finally, to coarse, heavily textured canvases that depict totems, masks and shields.
Those familiar with Robert Greene's
early paintings of
figures, architecture, and landscape combined in fairy - taleish scenarios would recognize a shift in the artist's most recent abstract works.
«
Figures had to be situated solidly in [their] environment» and a chair is an extremely effective visual anchor (J. Bishop, «Making Matisse His Own: Richard Diebenkorn's
Early Abstractions and Figurative
Paintings,» in J. Bishop & K. Rothkopf, Matisse / Diebenkorn, exh.
It was me creating my
early paintings and then
figuring out the arc of a particular character.
[2] In the
early 1960s, he concentrated on specific archetypes in
paintings and woodcuts, mostly of rebels, heroes, and shepherds, becoming increasingly interested in anamorphosis, the distorted or monstrous representation of an image, as exemplified in the proportions and facial features of his
figures.
A leading
figure of the Korean Tansaekhwa, or «monochrome
painting» group, Chung is recognized for the innovative
painting method he developed in the
early 1970s, which the critic Kwang Suh Oh describes as «taking off / removing» and «re-
painting.»
That's a
figure she developed later on, in the
early 1960s, when she created one of her few
paintings series, the Swan Lake series.
This
figure derives from an
earlier painting, Wall Jumpers (2002), the source of which was a media image showing Palestinians scrambling over the separation barrier built by Israel in the occupied territories.
Similar in spirit to Tomaselli's
earlier work which referenced the relationship between the sub-culture of psychedelia and utopianism, these new
paintings expand the dialogue into a fictive landscape where
figures populate a frenzied, cosmic and other worldly universe.
In Twisted
Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic
paintings pushes this language into a new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an
earlier, more matter - of - fact reliance on organic and visceral associations.
Mostly
paintings and drawings are featured, along with some photography, mixed - media works and sculpture by artists active in the
early, middle and late periods of the century, and many contemporary
figures still working today such as Hurvin Anderson, Stan Douglas, Kori Newkirk, Lorna Simpson, Mickalene Thomas and Barkley L. Hendricks (whose «New Orleans Niggah,» 1973 covers the volume).
This work is the first in Vicuña's series of
paintings from the
early 1970s, Heroes of the Revolution, in which she depicted important political
figures of international and Latin American socialism: Karl Marx, Lenin, Fidel Castro, Salvador Allende, and Violeta Parra.
One of the most respected
figures of Abstract Expressionism, Joan Mitchell (1925 - 1992) came to an
early attention with her lyrical abstract
paintings.
«Blue Umbrella # 2» (1972)-- Perhaps Katz's best - known image,
painted of his wife Ada beneath an umbrella, this work is an
early example of Katz's use of the environment as a setting for the
figure.
First shown in a solo exhibition at Metro Pictures, New York, in 1986, this work was one of four figurative
paintings that featured iconic political
figures and groups from the late 1960s and
early 1970s, including Angela Davis, the Black Panther leader Kathleen Cleaver, and the experimental troupe the Living Theatre.
However, in the wake of the Watts riots, and the general breakdown of urban life in the United States in the late 1960s and
early 1970s, Marshall focused on «an examination of the historical absence, or «invisibility» of the black
figure in the tradition of
painting.»
The show takes the considerable risk of starting not with a punchy, scene - setting overture, but a roomful of intriguing, mostly small
early paintings by key
figures.
The National Portrait Gallery, meanwhile, looks at the origins of art photography via the work of four celebrated
figures of the Victorian era, and Tate Modern takes things further with Shape of Light, which entwines the histories of photography and abstract art from the
early 20th century to now and positions work by the likes of Man Ray and Thomas Ruff against abstract
paintings, sculptures and installations.
LG: I'm curious about your mentioning your
early figurative
paintings, wonder if you could speculate about how
painting the
figure might differ from your still lifes?
Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space
Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt &
Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the
figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»
Although Bischoff went on to
paint colorful, thickly pigmented scenes of
figures in interior or landscape settings for nearly two decades, by the
early seventies he was, by his own admission, losing interest in the
figure as subject matter.
Alternative
Figures in American Art, 1960 to the Present, Curated by Dan Nadel, Matthew Marks, New York, NY 1995 Pacific Dreams: Currents of Surrealism and Fantasy in
Early California Art 1934 - 1957, Oakland Museum, UCLA Hammer Museum of Art and Nora Eccles Harrison Museum of Art, UT 1993 Selections from the Permanent Collection - California: Art from the 1930s to the Present, San Francisco Museum of Modern Art 1989 Forty Years of California Assemblage San Jose Museum of Art, Fresno Art Museum and Joslyn Art Museum 1986 California Sculpture: 1959 - 1980, San Francisco Museum of Modern Art 1985 Art in the San Francisco Bay Area 1945 - 1980, Oakland Museum 1984 Contemporary American Wood Sculpture, Crocker Art Museum, University of Arizona Museum of Art, Huntsville Museum of Art and Chrysler Museum The Dilexi Years 1958 - 1970, Oakland Museum 1982 100 Years of California Sculpture, Oakland Museum Northern California Art of the Sixties, De Saisset Museum, University of Santa Clara 1976 California
Painting and Sculpture: The Modern Era, San Francisco Museum of Modern Art and National Collection of fine Arts, Smithsonian Institution 1975 Masterworks in Wood: The Twentieth Century, Portland Art Museum First Artists» Soap Box Derby, San Francisco Museum of Modern Art 1971 Continuing Surrealism, La Jolla Museum of Art 1969 An American Report on the Sixties, Denver Art Museum American Sculpture of the Sixties, Grand Rapids Art Museum 1968 On Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional
Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public Collections
In Bischoff's
earliest non-representational
paintings the abstract shapes are large, still deriving from
figures against a background; gradually, the shapes have become smaller and more fragmented.
These new works represent a departure from the
earlier paintings shown concurrently at the Hammer Museum that primarily focus on the
figure.
Earlier that same day, I had walked to the Nasher to see First Sculpture: Handaxe to
Figure Stone and the Dallas Museum of Art to see the Edward Steichen mural
paintings.
Fischl has been a celebrated
figure in the New York art world since the
early 80's and he continues to
paint and exhibit nationally and internationally.
Alex Katz (b. 1927), a key New York - based artist since the
early 1960s, is a towering
figure in contemporary
painting
Based in Los Angeles since the
early 1970s, Jackson has expanded the definition and practice of
painting more than any other contemporary
figure.
Though senior
figures have displaced Doig as the most expensive living European painter — first Freud in 2008, then Gerhard Richter, twice — he continues to command stellar prices, including $ 12m last year for «The Architect's House in the Ravine» (1991), another example of the
early 1990s
paintings based on memories of Canada that remain his bestsellers.
Inspired by the
painting Wanderer Above the Sea of Fog (1818) by the German artist David Caspar Friedrich, Kiefer's human
figure dominates the landscape connecting two periods of German history, the imperialist ideas of the
early 19th century manipulated by the Third Reich that lead to the Holocaust.
Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract
painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting as the dominant style of
painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded
Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and
early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-
Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part 1: After Pollock In the aftermath of Pollock's death: the
early days of Pop, Minimalism and Conceptual
painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting in the USA (1950s and
early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How
painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-
Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New
Figures, Pop Romantics Post-cold war, artists use
paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
See
figure 2 in the essay on Untitled [black
painting with portal form] for a view of the
painting in its
early state.
As a coda to this narrative, the exhibition includes Pearlstein's most recent
paintings, a series of three canvases completed in
early 2015: nude female
figures are animated with vibrant animal masks as they lounge and recline over Navaho rugs.
Momentum was established
early in the sale, when Lucy McKenzie's
painting Olga Korbut sold for # 317,000 — a
figure almost 11 times more than its initial estimate.
The bald - headed youth which first appeared in the artist's
paintings in the
early 1990s has become Fang Lijun's characteristic
figure and has been widely interpreted as the symbol of disillusion, mockery and rebellion in contemporary Chinese society.
Beginning with
early 20th century
paintings by French artist Suzanne Valadon and ending with works by up - to - the - minute
figures such as Japan's Mariko Mori, Switzerland's Pipilotti Rist and England's Rachel Whiteread, «elles» will offer an international array of
paintings, sculptures, installations, drawings, photographs, prints, videos, furniture and architectural models.
He went on to
paint gatherings of spooky
figures and animals, their intense colour and silhouetted forms recalling both Arshile Gorky and the
early renaissance.