Sentences with phrase «field painting came»

Colour field painting came about as a result of different independent attempts by Still, Rothko and Newman, during the late 1940s, to create an eternal form of art which might transcend the ethical collapse triggered by the chaos and carnage of World War II: a type of painting that would speak for itself.

Color field painting came in at the same time as the invention of this new paint.

Not exact matches

Field of Lost Shoes doesn't tread any particularly new ground, but it certainly treads over very solid ground and Wiedmann has painted on a particularly grand canvas, writing emotionally rich music that is very easy to like and will surely prove very popular amongst those people who like the no - holds - barred - when - it - comes - to - emotions approach of 1990s John Barry or James Horner (and who are willing to give this score a chance).

Curated by Paul Schimmel, the show charts Guston's progress as he played with Color Field painting, moved into grid - like abstractions, and came gradually closer to figuration, combining the visual languages of Abstract Expressionism and Minimalism.

And then you back off and you think about it, or somebody comes in the studio and you talk about what you do and you conceptualize things that didn't necessarily come out of any clear plan... a field of vision depends on what's in your mind... what you really see is not just how you're painting or what it looks like.

The Multiforms are Rothko's first true abstractions, while their palette foreshadows the palette of the color field paintings to come.

[6] In 1970 Motherwell said, «Throughout my life, the 20th - century painter whom I've admired the most has been Matisse», [7] alluding to several of his own series of paintings that reflect Matisse's influence, most notably his Open Series that come closest to classic Color Field painting.

They also look to back color - field painting, when stained canvas for many critics came fraught with lightness and excess.

Color field, curiously enough or perhaps not, became a viable way of painting at exactly the time that acrylic paint, the new plastic paint, came into being.

His large color - field canvases, made entirely with spray paint, contain hallucinogenic and elusive visions, hinting at images, which never quite come into focus.

Veils may sound flimsy, and color - field painting has had to battle a reputation as lightweight compared to Abstract Expressionism before it and Minimalism to come, but these are not like the physical curtains that often heighten the illusion in trompe l'oeil painting.

While you have to declare a field of study to apply — painting, printmaking, sculpture, photography, or «new genres» — there's a lot of interdisciplinary wiggle room once it comes time to select your courses.

The exhibition will comprise a focused selection of large - scale paintings by these artists from the late - 50s to the early - 70s, covering the first wave of stained canvas techniques that would come to be referred to as «Color Field.»

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.

It's very interesting to me how the 1959 — 61 works in our show — coming between her celebrated soak - stain work of the 1950s and her Color Field paintings of the 1960s — have somehow slipped out of her history.

A realist who came of age during an era predominated by abstraction — Abstract Expressionism to be exact — Katz has been linked with a number of artistic tendencies, such as Color Field painting, Pop Art, and realism — both «new» and the traditional.

You then came to New York in 1954, at a time when Abstract Expressionism was hitting its late peak and beginning to transition into Color Field painting, Pollock was gone, and de Kooning was leaving for the Springs.

I used to work in several fields and the last one was stained glass and it came out of painting with light.

But painting did not come to a standstill, and in recent years activity in the field has developed rapidly, especially among younger artists.

Between the Past and the Coming / Talk: Ruth Campau Thursday, February 12, 2015, 18:00 — 19:00 In the exhibition Between the Past and the Coming, Ruth Campau takes stock of her longstanding exploration of painting in an expanded field.

For the Blanton, as for the art world at large, the death of this artist, who came to prominence during the late 1950s and»60s with his striking color field paintings and minimalist sculptures, was a great loss.

Coming of age as an artist at the time as nonrepresentation styles of painting such as Abstract Expressionism, Color Field, and Minimalism were accorded the highest critical prestige, he continued to paint representational images incorporating formal innovations that these movements introduced.

So, come to think of it, do the fields of color in his paintings.

One lovely summer day, an iconic vision comes to mind: you see yourself seated at your easel in a field of flowers, working peacefully on a plein - air landscape painting as clouds float above and bees pass by, humming in a friendly manner while searching for nectar or creating honey or whatever.

But the question remains, though, once the school field trips come and go, and the novelty of the new wears off, will this museum with its $ 10 admission price be appealing to a public with a millisecond attention span more interested in snapping photos with their smartphones than actually spending a sustained time looking at the paintings as Still wanted?

Image: Buddha field, 2010 - 11 Mixed media on linen 80 x 84 1/4 inches (203.2 x 214 cm) 7 April — 14 May 2011 «A painting should come out of a grand synthesis of visual forces and ideas.

At first blush these dense oil paintings with owls, raccoons, deer, hummingbirds, wheat fields — seem remarkably American and indeed Newsom, long in New York, comes from the heartland of middle America.

But on it went, altering and transforming through op - art, lyrical abstraction, colour field painting, minimalism and so on, to the point where nobody now would imagine that this once curious obsession with shapes and colours and non-descriptive marks is likely to come to an end.

Another major breakthrough for him came with the landmark, mural - scale 1971 painting Railroad Horse (now in the collection of the Museum of Fine Arts, Boston), featuring cascades of vibrant, poured pigment, Poons then came to be regarded as one of the foremost Color Field painters.

For Greenberg they possess a radicalism that comes more from Impressionism than Cubism, while his later dissatisfaction with increased mannerism of the Abstract Expressionist paintings led him to coin the term Post-painterly Abstraction under which he included the novel tendencies in abstraction such as color field painting, hard - edge abstraction, and the Washington Color School.

Ideally, the viewer would stand in front of his paintings, focusing on large fields of color and abstract forms, and come to terms with the self and his or her own scale.

Painted using one of those wheeled contraptions that mark out football pitches and sports fields, the line trundles from under a closed lift door, makes its way splashily up a swanky staircase — passing a Lawrence Weiner work that repeats the same phrase, «WHOLE CLOTH STRETCHED TO THE LIMIT», on the wall in big letters on every level — makes arcing oxbow detours across the concrete floors, and comes to a stop, where the machine ran out of paint, on the first floor.

The color field painting that came to prominence during the later 1950s and 1960s, by Frankenthaler, Louis, Noland, Dzubas, and Jules Olitski, among many others, can be said to have had its origin at that moment.

Arakawa, whose studio is in Bedford - Stuyvesant, Brooklyn, was at work on seven lo - fi animations of paintings by artists like Amy Sillman and Gustave Courbet that, come late May, he would be installing in the field outside a design and craft school.

Compound Flat # 62 is composed of a rectangle and triangle fashioned from wooden sticks suggestive of stretcher bars that have been combined or superimposed; ridges and fields of red, gray and whitish epoxy clay transform this patched scaffolding into deconstructed painting; Manolo Valdes» heavily impastoed (and faceless) takes on Renaissance portraiture come to mind.

Through field research and study of her work, I have come to believe that it was through construction of these rooms for living and creating art that she developed her own mental spaces, which in turn informed the content and structure of her paintings.

Staining was soon adopted by many other abstract artists, especially Morris Louis and Kenneth Noland, and helped to inspire what came to be known as Color Field painting.

Biography: Vivian Springford American, b. 1914 Vivian Springford, an artist best known for her «Black Paintings» of the 1950s - early 60s, and later, her vivid stained color field paintings, is having a seconPaintings» of the 1950s - early 60s, and later, her vivid stained color field paintings, is having a seconpaintings, is having a second coming.

For example, passing among the painting and sculpture galleries, one comes to a doorway with Mark Rothko's relatively busy color - field picture «No. 3 / No.

Almost instantaneously, there was a realization that Schnabel and Salle's work was coming out of Color Field painting — they used stained canvases, but they placed images on top.

The parallel to Op art comes in the shimmering quality that some of the paintings attain by the alternation of colored lines, or the mass of cross-hatching coalescing from a distance into a luminous field.

She creates hyper - real painted collages, most recently focusing on a central image or composition within a color field background, breaking up forms and redirecting references to question the act of representation itself — especially when it comes to the female body.

«For a long time he (Avery) was revered especially for his impact on the development of abstraction and Color Field paintings, which came about through his friendship with Mark Rothko and Adolph Gottlieb,» states Robert Wolterstorff, Executive Director of Bennington Museum.

This Smile came to mind as I entered Alex Katz's exhibition, Smile, at Peter Blum's Chelsea gallery, a suite of large, closely hung paintings all depicting frontal head - shots of various (in some cases recognizably famous) female models, all on slate - black fields that float upward in austere vertical uniformity.

The term «landscape painting» comes from the Dutch word «landschap», meaning «a patch of ground», and denotes any picture whose main subject is the depiction of a scenic view, such as fields, hillscapes, mountain - scapes, trees, riverscapes, forests, sea views and seascapes.

His Burst series comes closest to Colour Field Painting, though it remains intrinsically gesuralist.

Out of a combination of influential emigrant Europeans - such as Max Ernst (who married Peggy Guggenheim), the ex-Bauhaus painter Josef Albers (1888 - 1976), and the Armenian Arshile Gorky (1904 - 48)- plus unique American painters such as Mark Rothko (1903 - 70), Jackson Pollock (1912 - 56), and others - came Abstract Expressionism, with its variants of «action - painting» (Pollock and Lee Krasner), Colour Field Painting (Rothko, Still, Newman, Frankenthaler, Kenneth Noland), Hard Edge Painting (Frank Stella) and Post-Painterly Abstraction (Ellsworthpainting» (Pollock and Lee Krasner), Colour Field Painting (Rothko, Still, Newman, Frankenthaler, Kenneth Noland), Hard Edge Painting (Frank Stella) and Post-Painterly Abstraction (EllsworthPainting (Rothko, Still, Newman, Frankenthaler, Kenneth Noland), Hard Edge Painting (Frank Stella) and Post-Painterly Abstraction (EllsworthPainting (Frank Stella) and Post-Painterly Abstraction (Ellsworth Kelly).

I recognize three themes in your painting: «strokes and grids,» which comes out of your love of post-Impressionist paintings and minimalism, «fields,» which embodies your own unified geography of overall surfaces that yield both to Abstract Expressionism's and Neo-Expressionism's painterly languages and lastly, narrative or personal history is an ongoing thread that runs throughout your work.

She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as Color Field.

In works on paper by French artist David Lefebvre, for instance, oil painted hard - edge bars or geometric shapes of color intervene in evenly modulated graphite drawings in which orders of what is real and what is stylized, what is natural and what is schematic, are subverted; blocked - out shapes come to signify lacunae in the field of vision.