Sentences with phrase «field painters»

Paul Feeley (1910 — 1966), while often mistakenly associated with the Color Field painters of the 1940s and 1950s, in fact found the inspiration for his work primarily from ancient art, Greek architecture and Egyptian sculpture.

Matisse's influence on Abstract Expressionist and Color - Field painters is represented in works by Robert Motherwell, Richard Diebenkorn, and Kenneth Noland.

Unlike Morris Louis or the other poured and stained Color Field painters, Sam makes her viewers unable to consider the work as a window into something or a transportation to another place by insisting on the visual reality that they are staring at a piece of cloth mounted onto some wood.

The Color Field painters of the the Washington Color School were mostly linked by curators and critics rather than by social ties.

Pollock's staining into raw canvas was adapted by the Color Field painters Helen Frankenthaler and Morris Louis.

Painters who set up color problems in their paintings are considered avant - garde; they are often referred to as «color painters» or «color - field painters.»

Painters like Brooke Moyse draw strength from abstract and Color Field painters of the 1960s and 1970s.

Because works of abstract expressionism can diverge wildly in terms of structure and technique, art historian Irving Sandler divides abstract expressionists into two categories: gesture painters and color - field painters.

Later in the decade, he shared a studio with Howard Mehring, who also became part of the group of color field painters.

Color - field painters, on the other hand, suppressed all references to the past by painting unified fields of varying color.

The most distinguished of these colour - field painters was Mark Rothko.

Her work ended up being quite influential to the Color Field painters — figures such as Morris Louis and Kenneth Noland — whose work was all about the way color sat on a canvas.

Color was the basis of her painting, undeniably reflecting her life - long study of color theory as well as the influence of luminous, elegant abstract works by Washington - based Color Field painters such as Morris Louis, Kenneth Noland, and Gene Davis.

Miro's work has influenced numerous generations of subsequent artists including the Abstract Expressionists (Motherwell, Calder, Gorky, Rothko) and Color Field Painters (Frankenthaler, Olitski and Louis).

Abstract Expressionist color field painters like Mark Rothko practiced a form of color blocking by dividing their canvases into hazy sections of...

The American Color Field painters were their starting point: Morris Louis, Kenneth Noland and Helen Frankenthaler, as well as Lichtenstein.

Overall, I don't see Newman in Innes» work as much as the Color Field painters who came after Newman.

The resulting abstract sculptures explored similar topics as Color Field painters such as scale, form, surface and space.

Abstract Expressionist color field painters like Mark Rothko practiced a form of color blocking by dividing their canvases into hazy sections of solid color.

Clement Greenberg included Feeley's work in his exhibition Emerging Talent at the Kootz Gallery in 1954, alongside other Color - Field painters like Morris Louis and Kenneth Noland.

«These artists borrowed from myriad sources — Art Nouveau, Indian textiles, 1930s cartooning, Pop and Op Art, and even the shimmering vibrancy of the Color Field painters,» notes gallery director David Eichholtz.

He was one of the best - known American Color field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s he was thought of as a minimalist painter.

His work led me to the entire group of color field painters who I have been collecting for over a decade: Josef Albers, Paul Feeley, Richard Anuszkiewicz, Frank Stella.

Over the course of his career Gilliam has established himself as one of the foremost African American contemporary Color Field painters and his work, in addition to being featured in numerous exhibitions and private collections, is in the permanent collection of numerous American museums.

While I have seen paintings of his in many exhibitions over the years, my introduction to his work came through a show of Color Field painters organized by the curator Kenworth Moffett at the Museum of Fine Arts in Boston in 1972.

It was also obvious by that time that Caro's and Olitski's sculptures and the Color Field painters were not going to carry the day.

And you had all these Color Field painters that were doing process stuff.

«Pretty Raw» starts with artists such as Larry Rivers and Grace Hartigan, and swings through Color Field painters.

The Color Field painters of the»60s and»70s believed in progress.

In the course of the 1950s, the movement's younger followers increasingly followed the lead of the colour - field painters and, by 1960, its participants had generally drifted away from the highly charged expressiveness of the Action painters.

One of the original Color Field painters to emerge in the 1950s, Jules Olitski was deeply concerned with the physical properties of paint.

Before the decade was up, he staged several solo shows in New York, including at Andre Emmerich Gallery, a key showcase for celebrated Color Field painters like Jules Olitski and Larry Poons.

This technique, known as the stain technique, strongly contrasted with the use of impasto that characterized most Abstract Expressionist painting, and it seriously influenced the colour - field painters Morris Louis and Kenneth Noland.

Wallace's 2012 Redactor series, for instance, features chaotic and multidimensional collaged paintings, which draw from art - historical styles such as those championed by the Color Field painters and Abstract Expressionists of the mid-20th century.

It particularly impressed Kenneth Noland (1924 — 2010) and Morris Louis (1912 — 1962) when they visited Frankenthaler's studio in 1955; and in doing so, helped launched a second generation of Colour Field painters - the original pioneers of Colour Field Painting being Mark Rothko (1903 - 70) and Barnett Newman (1905 - 70) in the 1940s and 50s.

It's a very simple honest process in which [he uses] the shape, color, and prints of early Post-Abstract Expressionist and Color Field painters as a basis to build [his] video and prints with [his] own animation devices for the show within the space.»

Other notable artists from the second generation of color field painters include Kenneth Noland, Jules Olitski, Alma Thomas and Sam Gilliam among others.

Morris Louis was an American visual artist and a leading member of the Color Field painters and Washington Color School.

When I moved to SoHo in 1973, Frank Stella was my favorite, he and Color Field painters like Kenneth Noland and Morris Louis.

In particular, I have had a long interest in the color - field painters Kenneth Noland, Gene Davis and Morris Louis; as well as light and space artists James Turrell, Robert Irwin, Doug Wheeler and Dan Flavin.

It was interesting in his last article («When It Pours») inthe New Yorker (September 22, 2014), Peter Schjeldahl wrote about the Color Field painters of the»70s, Helen Frankenthaler and Morris Louis.

Along with Morris Louis and Kenneth Noland, Davis was at the center of the Washington, D.C. contingent of Color Field painters known as the Washington Color School.

The Color Field painters, who dominated sales of the 1990s as Jeff Koons and Warhols went unsold, got short shrift in these sales.

So, to make a coherent grouping within those parameters, first we had to leave out Color Field painters and the hard - edged abstractionists.

Color Field painters, Fauvists and Orphists strongly believe that specific colors enhance each other when placed next to each other, creating a sense of movement an vibration within the image.

Exhibits include paintings by colour - field painters such as Helen Frankenthaler, Jules Olitski, Jack Bush, and Larry Poons; a number of canvases by European Neo-Expressionists, including Georg Baselitz, Francesco Clemente, Anselm Kiefer, and Sigmar Polke; a 1969 canvas by the muralist and Abstract Expressionist Philip Guston; reliefs and paintings by Antonio Lopez Garcia, and a sculpture by David Smith.

His research influenced Minimalism, Color Field painters, Abstract Expressionism, Op Art, and continues to inspire a new generation of abstract artists.

He is considered one of the first color field painters and is one of the forerunners of Lyrical Abstraction.

These issues, however, had been redefined by a younger generation of abstract artists and theorists, the Minimalists and Color Field painters, into a question of painting's essential identity: was it a thing or a surface or both?

Above all, the 1960s generation of Colour Field painters audaciously presented their abstraction as an end in itself.