Sentences with phrase «field painting after»

Not exact matches

In college I studied painting and after college I went into the early childcare field while also further exploring textiles.

But after two years of quiet negotiations, Chuimei Ho and Bennet Bronson, curators at the Field Museum in Chicago, persuaded Chinese authorities to display more than 400 artifacts, including paintings, sculpture, furniture, and pieces of jade in an exhibition opening this spring.

After image occurrence on such display and electric field is switching off, the necessary microcapsules remain painted.

Frank Stella's approach and relationship to Color Field painting was not permanent or central to his creative output; as his work became more and more three - dimensional after 1980.

Associated with movements as diverse as Abstract Expressionism, Color Field painting, Minimalism, Op art, and Postmodernism, the artists featured in Rothko to Richter were at the forefront of debates about the changing priorities and imperatives of painting after World War II, each seeking to redefine abstraction for new social and cultural milieus.

Five paintings structured after works by Kandinsky and Malevich — McElheny's Crystalline Prism Painting I, II, III, IV, and VI — feature press - molded and polished glass prisms inset into a field of black, matte oil paint brushstrokes, visible behind or through a surface made of a sheet of «museum glass».

Thomas at the time looks freer and brighter in watercolor, closer to Joan Mitchell after all, but her own color - field painting was still to come.

Painted four months after his arrival in Arles, Wheat Field displays some of the key lessons that Van Gogh learned in Paris — the bright palette of the Impressionists and the individual touch of the Neo-Impressionists — which by then had developed further into his highly personal, signature style with its distinctive brushwork and singing colour.

Positions of Color Field painting», the Staatliche Kunsthalle Baden - Baden reopens after a...

But the formalism of the painted mark was felt long after, from the supposed purity of color - field abstraction to the textual overlays of political artists.

After visiting the Paul Klee Foundation in Bern, Switzerland in 1977, Natkin embarked on the Bern series, which finds the geometric and biomorphic shapes of his earlier Field Mouse pictures on expanses of strong, saturated primary colors applied using rags and sponges soaked in paint.

His monochrome aluminum sculptures reflect an aesthetic similar to his paintings, and he continued to experiment with color fields and abstraction long after the style fell out of vogue.

Work like this trusts the artist's impulse in a way that art immediately after color - field painting did not.

Frankenthaler, Louis and Noland formed the core of a group known as the colour field painters, though the critic Clement Greenberg preferred one of his own clunking coinages, «post-painterly abstractionists», meaning that after the «painterly» surfaces of the abstract expressionists, the purely colour - based paintings of Noland and the others marked out a different and more advanced stage of art's march to absolute abstraction.

After making paintings of straight, repeated lines he moved to placing objects within the paintings themselves in an attempt to magnify their «objectness» to move away from flat fields of color.

Abstract Expressionism, also known as Action Painting or Color Field Painting, exploded onto the art scene after World War II with its characteristic messiness and extremely energetic applications of paint.

This transfer usually occurs after Perez has painted a canvas with a field of loose, expressionistic marks, or laid down a ground of gold or silver leaf, which remains visible as negative space after tracing an image.

Within twelve years after her first class at American, she began creating Color Field paintings, inspired by the work of the New York School and Abstract Expressionism.

Instead of seeing the artist's color field painting upon entering, you saw it only after scanning the ensemble of works already in the collection.

Sam Gilliam made «After Glow» in 1972 as a color field painting.

After moving to New York in late 1960s, Bowling's painting began to turn to abstraction — the field in which his contributions have been most significant.

Teaching at the Catholic University in Washington DC with the painter Morris Louis, Noland began to experiment with geometric shapes, these evolving into the unbroken areas of pigment which would give their name to Colour Field painting, the dominant school of American abstraction after Pollock.

In the 1970s, decades after Color Field painting first splashed into consciousness, the MFA devoted an exhibition to it.

Connecting lineages of stain painting and textile dying and design, she complicates field painting space by incorporating a pattern painted on the backside of the canvas, creating a metaphor from the seepage of paint for the impermeability of boundaries such as front and back, and before and after.

Shortly after leaving Shanghai, Tobey began painting little fields of white calligraphic marks on colored backgrounds.

After settling in New York, Kuwayama eschewed both traditional Japanese painting and Abstract Expressionism, which dominated contemporary art, and instead experimented with highly reductive painting, producing canvases with brightly colored fields of paint in horizontal and vertical compositions, such as Untitled: red and blue (1961).

This blend of sensual materiality and internally generated imagery goes back to Philip Guston, who developed his own practice of Abstract Expressionism in the 1970s, after it had become arid and cosmetic in color - field abstraction: an exuberant, visceral painting, based in sheer love of paint - inspired imagery, freed from the strictures of abstraction and depiction but open to both.

«After Abstract Expressionism» itself reveals the kind of gamble inherent in this type of analysis, as its accuracy, success, and relevance can only be born out with time, and so it is that we can now see that the Color Field painting Greenberg championed at the end of «After Abstract Expressionism» did not ultimately prove to be the most fecund avenue of new artistic production in the»60s.

In fact, approaching the work from a close perspective, it's easy to see that the red fields were painted after the thin lines of different shades, not before, like everyone would probably assume.

The most expensive piece of American art sold at auction, this signature work by one of the great abstract painters of the mid-20th century, and a pioneer of Colour Field Painting, is the second most expensive post-war painting sold at auction, after Francis Bacon's TPainting, is the second most expensive post-war painting sold at auction, after Francis Bacon's Tpainting sold at auction, after Francis Bacon's Triptych.

They're strange reiterations of mid-century Color Field painting and Minimalist sculpture, and visually seductive, covering a range of colors from the deep black of «Lux Interior (rubber)» to the hazy gold of «After Red Desert.»

Three decades ago in Art forum, Max Kozloff asked just what, beyond formal achievement, made Abstract Expressionism (and Pop art and Color Field painting on its heels) so triumphant after all...

However, after moving to New York, he discovered Color Field painting and the work of Helen Frankenthaler, Morris Louis, Jules Olitski and Larry Poons.

After having worked as a textile designer in Tokyo for a few years, she turned to painting and printmaking based on abstract forms and fields.

The world's secon most expensive example of Colour Field Painting, after Orange, Red, Yellow (1961) also by Rothko.

Then in 1944 Newman returned to painting - after first destroying most of his previous work - and over the next 5 years evolved his signature style of Colour Field Painting: a style in line with his view that, in an age of moral uncertainty and physical insecurity, the only rightful subject matter for an artist was the «sublimepainting - after first destroying most of his previous work - and over the next 5 years evolved his signature style of Colour Field Painting: a style in line with his view that, in an age of moral uncertainty and physical insecurity, the only rightful subject matter for an artist was the «sublimePainting: a style in line with his view that, in an age of moral uncertainty and physical insecurity, the only rightful subject matter for an artist was the «sublime».

After a few years I abandoned my waiting - list - ready architectural works, stopped doing figure paintings and still life, began spreading my field of vision out from the houses into the landscape.