Sentences with phrase «expressionist pictures painted»

• German Expressionism (1905 - 14) Kandinsky's expressionist pictures painted during his membership of Der Blaue Reiter come close to abstraction, as do works by his colleague Franz Marc (1880 - 1916).

Several of Kandinsky's expressionist pictures painted during his time with Der Blaue Reiter come very close to abstraction, as does Deer in the Wood II (1913 - 14, Staatliche Kunsthalle, Karsruhe) by his colleague Franz Marc (1880 - 1916).

Not exact matches

At Metro Pictures, Longo uses Abstract Expressionist painting as a source for his drawings.

Abstract expressionist artist Helen Frankenthaler, pictured above in 1956, adopted Jackson Pollock's technique of painting canvases laid flat on the floor.

These included: Mark Rothko, Philip Guston («Philip would say again and again — as if he had never said it before — that everything in a work of his had to be «felt»»), Franz Kline (he «held court at the Cedar Street Tavern almost every night after ten»), David Smith, Tony Smith, Robert Motherwell, Ad Reinhardt, Jackson Pollock, Barnett Newman, Hans Hofman («I always admired Hans» painting and believe that certain of his pictures — Lava and Agrigento come to mind — must be numbered among the greatest abstract expressionist canvases»), Willem de Kooning, and Clyfford Still («as a de Kooning man, it took me time to appreciate Still's innovation»).

After studying painting at Wesleyan, Ligon moved to New York and, as the curator Scott Rothkopf has it, «churned out belated Abstract Expressionist canvases» (a smattering of these pictures can be seen in America).

Galleries on the fourth floor present Abstract Expressionist paintings, sculptures, prints, drawings, photographs, films, and archival materials in a display subtitled The Big Picture, marking the first time in the history of the new Museum building that a full floor has been devoted to a single theme.

These works were a riposte to abstract - expressionist pictures, such as Jackson Pollock's «drip» paintings; the compositions were more radical and the process of producing them more intense.

• For the meaning of important expressionist pictures, see: Famous Paintings Analyzed.

PETER SELZ: Well, I think Goya really, you know, instead of painting in the neo-classic tradition as his contemporary Dávid was doing, he was painting expressionist pictures.

There were so many strong, competing agendas: the Pictures Generation and appropriation, the «Bad Boys» of expressionist painting, graffiti, a new generation of feminists.

Robert Longo's Gang of Cosmos at Metro Pictures includes 12, ghostly black - and - white charcoal drawings based on canonic paintings by Abstract Expressionist masters Willem de Kooning, Helen Frankenthaler, Lee Krasner, Norman Lewis, Joan Mitchell, Robert Motherwell, Barnett Newman, Jackson Pollock, Ad Reinhardt, Mark Rothko and Clyfford Still.

Robert Longo has a show at Metro Pictures in March of supersized charcoal drawings of iconic Abstract - Expressionist paintings.

In the 1955 essay «American - Type Painting» Greenberg promoted the work of Abstract Expressionists, among them Jackson Pollock, Willem de Kooning, Hans Hofmann, Barnett Newman, and Clyfford Still, as the next stage in Modernist art, arguing that these painters were moving towards greater emphasis on the «flatness» of the picture plane.

The physicality and dense entanglements of monumental Abstract Expressionist canvases, in turn, are now regarded not simply as dialogues between paint and picture surfaces, but as historical indexes of the toils of intense, larger - than - life personalities.

By 1958, Siskind had established himself as a lone photographer among the Abstract Expressionist painters exhibiting his pictures along side their paintings well before it was the accepted norm.

gestural surfaces of abstract expressionist works and towards flatter surfaces and a more minimal color palette, Stella's paintings reflected his statement of the time that a picture was «a flat surface with paint on it — nothing more.»

His «meta - matics» were comically structured machines that mechnically painted «abstract expressionist» pictures.

This motif, repeated from picture to picture takes a kind of content that belonged to the original Abstract Expressionist mythos — e. g. the existential nothingness out of which the being of the painting arose — and brings it deftly over into a formal aspect of the composition itself.

Like all the pop generation in America, he was working in the shadow of the abstract expressionists who in the 1940s and 50s widened the reach of painting, destroying the difference between the easel picture and the mural.

This picture might appear to be merely a depiction of a figure intensely working on a large sheet of white paper until one recognizes the role assumed by the blobs of paint in the background that look as if they have been applied by an Abstract Expressionist.

Paintings from the 1950s include such works as Stephen Pace's Untitled (51 - 90), a dynamic abstract painting in which forms move into and through the picture plane in the mode of the art of Pace's teacher Hans Hofmann, Melville Price's Untitled (ca. 1959), a gestural painting in the abstract expressionist idiom in which figurative elements have a suggestive presence, and George Segal's Three Nudes (1959), in which a psychological tension is conveyed in the expressively treated figures that are integrated into spaces defined by veils or blankets of color.

If the Abstract Expressionists sought to vanquish the focal points of traditional painting through a balanced fragmentation of the picture plane, Saccoccio does the opposite.

Its 19th - century holdings include Impressionist paintings by Edouard Manet (1832 - 83), Claude Monet (1840 - 1926), Edgar Degas (1834 - 1917), Pierre - Auguste Renoir (1841 - 1919), Camille Pissarro (1830 - 1903) and Alfred Sisley (1839 - 1899); works by Post-Impressionist painters like Paul Cezanne (1839 - 1906), Paul Gauguin (1848 - 1903) and Paul Signac (1863 - 1935); expressionist works by Van Gogh (1853 - 1890), and Symbolist pictures by Odilon Redon (1840 - 1916).

Cubism, Expressionism, Dada and Surrealism were the most important of these movements, and attracted a number of indigenous American artists, including: the New Jersey Cubist / Expressionist John Marin (1870 - 1953); the vigorous modernist Marsden Hartley (1877 - 1943); the expressionist Russian - American Max Weber (1881 - 1961); the New York - born Bauhaus pioneer Lyonel Feininger (1871 - 1956); the unfortunate Patrick Henry Bruce (1881 - 1937), noted for his semi-abstract impastoed pictures; Stanton Macdonald - Wright (1890 - 1973) and Morgan Russell (1883 - 1953), two Americans living in Paris who invented a colourful abstract style known as Synchromism; Arthur Garfield Dove (1880 - 1946) noted for his small scale abstracts, collages and assemblages; the Mondrian and De Stijl - inspired Burgoyne Diller (1906 - 65); the influential American Cubist Stuart Davis (1894 - 1964); the calligraphic abstract painter Mark Tobey (1890 - 1976); the surrealist Man Ray (1890 - 1976); the Russian - American mixed - media artist Louise Nevelson (1899 - 1988); the Indiana metal sculptor David Smith (1906 - 1965); Joseph Cornell (1903 - 72) noted for his installations; the Iowa - raised Grant Wood (1892 - 1942) noted for his masterpiece American Gothic (1930), and the Missouri - born Thomas Hart Benton (1889 - 1975), both of whom were champions of rural and small - town Regionalism - part of the wider realist idiom of American Scene Painting; and Jacob Lawrence (1917 - 2000) the famous African - AmeExpressionist John Marin (1870 - 1953); the vigorous modernist Marsden Hartley (1877 - 1943); the expressionist Russian - American Max Weber (1881 - 1961); the New York - born Bauhaus pioneer Lyonel Feininger (1871 - 1956); the unfortunate Patrick Henry Bruce (1881 - 1937), noted for his semi-abstract impastoed pictures; Stanton Macdonald - Wright (1890 - 1973) and Morgan Russell (1883 - 1953), two Americans living in Paris who invented a colourful abstract style known as Synchromism; Arthur Garfield Dove (1880 - 1946) noted for his small scale abstracts, collages and assemblages; the Mondrian and De Stijl - inspired Burgoyne Diller (1906 - 65); the influential American Cubist Stuart Davis (1894 - 1964); the calligraphic abstract painter Mark Tobey (1890 - 1976); the surrealist Man Ray (1890 - 1976); the Russian - American mixed - media artist Louise Nevelson (1899 - 1988); the Indiana metal sculptor David Smith (1906 - 1965); Joseph Cornell (1903 - 72) noted for his installations; the Iowa - raised Grant Wood (1892 - 1942) noted for his masterpiece American Gothic (1930), and the Missouri - born Thomas Hart Benton (1889 - 1975), both of whom were champions of rural and small - town Regionalism - part of the wider realist idiom of American Scene Painting; and Jacob Lawrence (1917 - 2000) the famous African - Ameexpressionist Russian - American Max Weber (1881 - 1961); the New York - born Bauhaus pioneer Lyonel Feininger (1871 - 1956); the unfortunate Patrick Henry Bruce (1881 - 1937), noted for his semi-abstract impastoed pictures; Stanton Macdonald - Wright (1890 - 1973) and Morgan Russell (1883 - 1953), two Americans living in Paris who invented a colourful abstract style known as Synchromism; Arthur Garfield Dove (1880 - 1946) noted for his small scale abstracts, collages and assemblages; the Mondrian and De Stijl - inspired Burgoyne Diller (1906 - 65); the influential American Cubist Stuart Davis (1894 - 1964); the calligraphic abstract painter Mark Tobey (1890 - 1976); the surrealist Man Ray (1890 - 1976); the Russian - American mixed - media artist Louise Nevelson (1899 - 1988); the Indiana metal sculptor David Smith (1906 - 1965); Joseph Cornell (1903 - 72) noted for his installations; the Iowa - raised Grant Wood (1892 - 1942) noted for his masterpiece American Gothic (1930), and the Missouri - born Thomas Hart Benton (1889 - 1975), both of whom were champions of rural and small - town Regionalism - part of the wider realist idiom of American Scene Painting; and Jacob Lawrence (1917 - 2000) the famous African - American artist.

For an explanation of some of the great 20th century abstract expressionist pictures, please see: Analysis of Modern Paintings (1800 - 2000).

Guston's main point at Boston University was that the state of things in 1966 was very different from the original experience of the Abstract Expressionists around 1950 when, in his words, you felt as if you were driven into a corner against the wall with no place to stand, just the place you occupied, as if the act of painting itself was not making a picture, there are plenty of pictures in the world — why clutter up the world with pictures?

One reason for our consideration is that, by some standard, she did everything wrong: she made easel pictures on prefabricated canvas board; she made impure abstract paintings; she seems not to have given a fig about what the Abstract Expressionists were up to.

Inspired by interactions and studio visits with American Abstract Expressionists, including Helen Frankenthaler, Robert Motherwell, Barnett Newman, and Mark Rothko, Hoyland increased the scale of his pictures and moved exclusively to acrylic paint rather than oil.