Sentences with phrase «early modernist painters»

As a variety of technical devices were employed by early modernist painters to intimate extension beyond the space defined by the picture plane, and by later artists to reveal and acknowledge the two - dimensional surface of illusion, the artists in this exhibition have utilized devices which indicate a contemporary view of time and space and the work of art.

Not exact matches

Late 19th - century Americans like Augustus Vincent Tack and Albert Pinkham Ryder, along with early American Modernists like Georgia O'Keeffe, Marsden Hartley, Stuart Davis, Arthur Dove, and Milton Avery's landscapes also provided important precedents and were influences on the Abstract Expressionists, the Color Field painters, and the Lyrical Abstractionists.

Roberta Smith, a famous art critic, placed Guyton with some younger painters that were countering the structures of late Modernism by revisiting the early Modernist cusp between abstraction and representation, entering the area previously populated with Malevich «s robotlike peasants, Jawlensky's masks, Mondrian's flower paintings.

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

With Mylar foil and straw bales, painted stripes and gestural drips, German painter and sculptor Anselm Reyle (born 1970) breathes new life into the motifs of Abstract Expressionism, Pop art, Minimalism and earlier movements, leaving no modernist master untouched in his reprisings of their motifs.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

Stuart Davis (December 7, 1892 — June 24, 1964), was an early American modernist painter.

It's quite a distance — stylistically and chronologically — from the brightly colored geometry of the French early - Modernist painter Sonia Delaunay to the Shaker - like austerity of the Minimalist sculptor Carl Andre.

That would all be fine if they were used to add something, but it reads like a formal exercise, toying with abstraction in a long tradition of early Modernists or folk painters.

This catalog collects 27 full - color illustrations of these paintings, along with generous examples of Slutzky's earlier work, to critically examine how the painter's manipulation of color and transparency have transgressed the modernist canon of flatness.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

Continuing in the collecting trends of the past year, Miami Beach saw an ongoing interest in the modernist, avant - garde painters of the early and mid-twentieth century, with major works on view from Mark Rothko, Alexander Calder and Marcel Duchamp (Duchamp's work was seen frequently throughout the week), likely inspired by the recent price tags attached to these artists» works, and their emerging stature as defining talents of the past century.

Galerie d'Orsay offers works ranging from Old Masters such as Rembrandt and Renoir to early 20th century modernists such as Picasso and Miro to contemporary painters, print makers, and sculptors such as Bruno Zupan, Luc Leestemaker, and Samir Sammoun.

The Tantric Way highlights the parallels between Tantric art and the early twentieth - century modernist abstractions of Paul Klee, Piet Mondrian, Constantin Brancusi and Robert Delaunay, as well as the affinities between the post-war American painters Ad Reinhardt, Mark Rothko and Barnett Newman and the work of Indian artist Biren De.22 The latter was one of the leading members of a group of «neo-Tantric» artists newly promoted by New Delhi gallerist Virendra Kumar Jain, the older brother of Tantra Art's publisher, Ravi Kumar.23

An artwork in pencil and gouache on paper, attributed to the early American modernist painter Stuart Davis (1892 - 1964), titled Abstract, measuring about 20 inches by 25 inches, topped out at $ 3,750.

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.

From his early Cubist and Surrealist assemblages to later ceramic and cut sheet - metal works, this major exhibition from the quintessential Modernist master is bound to elevate this «painter's» brilliant and unique sculptural language.

An abstract painter who has been an active member of the New York art scene since the early 1980s, James Walsh follows in the modernist tradition of Pollock in using art to reveal its own properties.

The Philadelphia - based painter Arthur B. Carles (1882 - 1952) was among the early - bird American modernists who picked up hot - off - the - palette art trends in Europe and brought them winging back home.

By making Frank Stella, Robert Rauschenberg, Mark Rothko, and Ad Reinhardt the sole artists represented, the narrative of a purely New York phenomenon is promulgated, drawing a line of demarcation between these painters and the European modernists who tested the dark palette in the early twentieth century.

«Joseph Solman, a painter who, with Mark Rothko and other modernists, helped shape American art as early as the 1930s and, into a new century, continued to paint in his studio above the Second Avenue Deli in New York, died on Wednesday at his home in Manhattan,» Michael Kimmelman writes in the NY Times obituary.

From the first major U.S. exhibition of long - overlooked abstract painter Hilma af Klint and the biggest U.K. show of pioneering video artist Joan Jonas, to the passionate paintings of early 20th century Viennese modernist Egon Schiele and the world's first space sculpture by contemporary artist Trevor Paglen, here are 12 shows opening across the globe — and beyond — that you won't want to miss.

It may be too neat a formulation, but just as in the works of the early 20th century, one can see modernist painters struggling to evolve abstract compositions from real scenes, with Doig it's the reverse — he is pulling real scenes out of an abstract surface.

The Ashmolean Museum's latest exhibition examines this early 20th century American pride and optimism; but also touches on something potentially frightening about the Precisionist painters» expression of that «Modernist soul».

Towards the end of the 19th century the American painter Albert Pinkham Ryder created moody and darkly visionary early modernist seascapes.

Morris Louis Bernstein (1912 - 1962) The American Abstract Expressionist Modernist painter of Russian Jewish descent became of the earliest exponents in the 1950's of» Color Field» paintings.

Morris Louis Bernstein (1912 - 1962) the American Abstract Expressionist Modernist painter of Russian Jewish descent became one of the earliest exponents in the 1950's of» Color Field» paintings.

At The Painting Space I found out about a very exciting exhibition planned for next year (February to May 2012) at the Courtauld Gallery, London, exploring the relationship between two important early modernist, abstract painters Piet Mondrian and Ben Nicholson.

Galerie St. Etienne, for instance, is featuring the early German Modernist painter Paula Modersohn - Becker (1876 - 1907), who is the subject of a new biography by the art historian Diane Radycki.

He studied the writings of the great Russian painter Kasimir Malevich (1879 - 1935), an early pioneer of concrete art and founder of the modernist art movement known as Suprematism.

Nicoll, of course, was one of the earliest abstract painters in a province that, as curator Christine Sowiak observes, was late to accept modernist art.

With Ab - Ex, Minimalism and Pop Art embedded in his dna, New York painter Peter Halley began in the early 1980s to create flat, tactile paintings playing on modernist pictorial rules.

Per Kirkeby: Paintings and Sculpture, The Phillips Collection's survey of works by the 74 - year - old Danish artist, is a must - see exhibition for anyone who has walked through that museum's collection of early modernist masters wondering which, if any, of today's painters have picked up the project they bequeathed to us.

Among the artists included in the exhibition is Stanton Macdonald - Wright, who was one of America's leading modernist painters and an early pioneer of abstract art.