Sentences with phrase «figural abstraction»

Into the early 1950s, Tworkov maintained a practice of figural abstraction, titling and culling his paintings» content from Homer's Ulysses.

The 13 works on view highlight the formal similarities between the artists» work and illustrate a parallel shift in their conception of pictorial space — from a figural abstraction to a new sense of openness and expansiveness.

In Washington, Gilliam befriended Thomas Downing and became part of the Washington Color School, moving away from his earlier style of dark figural abstraction towards the production of large works with fields of flatly applied color.

These two - toned works characterize a period that is the predecessor to the heavily impastoed, figural abstractions that are the «Women» paintings of the early 1950s.

Influenced by the emergence of abstract expressionism, the New York School, Color Field Painting and the Washington Color School, Gilliam's early style developed from brooding figural abstractions to large paintings of flatly applied color and paintings of diagonal stripes on square fields.

Gilliam's paintings and drawings from graduate school in the late 1950s until his first one man exhibition in Washington in 1963 were primarily figural abstractions employing bold, dark colors of a brooding nature reminiscent of the works of German Expressionist Emil Nolde.

Not exact matches

Focusing on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

When he resumed painting in 1945, Tworkov found himself increasingly interested in abstraction, which he saw as analogous, rather than antithetical, to figural representation.

Entitled Tworkov Paints a Picture, the piece walked readers through Tworkov's approach to painting and demystified abstraction by presenting it as a deliberate process in which an artist uses color, line, and flame - like brushstroke to express a subject, much like in figural representation.

The thirty - nine artists participating in this year's NAP broadly span the spectrum of varying themes in contemporary painting, including figural representation, material studies, optical abstraction and spatial depictions, while continually redefining the limits of formal categorization.

The serial production of artworks enabled Willem de Kooning to illustrate the process of transformation of figural painting towards total abstraction.

Among all the abstraction, there are some figural pieces and phenomenal drawings on auction in Paris.

Always in the past interfacing the references of figural interactions with structural abstraction, his paintings and collages have merged their techniques together -LSB-...]

The Time Is Now features artists who represent a variety of positions on the spectrum from figural representation to abstraction, including: Magdalena Abakanowicz, Ruth Asawa, Hannelore Baron, Mary Bauermeister, Lee Bontecou, Deborah Butterfield, Barbara Chase - Riboud, Elaine de Kooning, Jay DeFeo, Claire Falkenstein, Gertrude Greene, Nancy Grossman, Grace Hartigan, Lee Krasner, Yayoi Kusama, Lee Lozano, Alice Trumbull Mason, Joan Mitchell, Alice Neel, Louise Nevelson, Agnes Pelton, Florence Miller Pierce, Irene Rice Pereira, Anne Ryan, Betye Saar, Kaye Sage, Janet Sobel, Nancy Spero, Dorothea Tanning, Lenore Tawney, Alma Thomas, Charmion von Wiegand, and Claire Zeisler.

As fluid as folded drapery, and arresting as a marble monument, it subverts expectations of both abstraction and representation, while exuding a subtle figural quality.

His earliest paintings are figural, influenced by Cézanne and Surrealism, but by the early»50s he had moved into full abstraction, covering his canvases with dense patterns of mostly dark colors in short brushstrokes.

While most of his contemporaries had begun with figural representation and moved towards abstraction, Leslie's work followed the opposite trajectory.

Credited for painting the first abstract work, Kandinsky changed his style over the years, from beginnings in figural painting to pure abstraction.

While Bearden's early work consisted of figural paintings inspired by the social realism that dominated the 1930s, a trip to Paris in 1950 inspired him to move closer to abstraction.

These are the most literally figural works within an oeuvre dedicated to abstraction of the figure in different modes.

Beginning with her roots in graphic abstraction and ending with her work in figural representation, the exhibition will be the largest collection of her work to date.

Her abstraction is vaguely architectural and figural and dominated by a masterful sense of color.

The works in Beyond the Spectrum attest to the array of approaches and styles within American abstraction, and they challenge two persistent tendencies: to conceive of abstraction as the purview of white artists and to limit notions of authenticity to figural representations of African American culture where black artists are concerned.

Marginalization within a male - dominated art world was a shared experience among women artists, but Neel's dedication to figural representation in the era of abstraction compounded her invisibility.

Rothenberg's visceral canvases have continued to evolve, as she explores the boundary between figural representation and abstraction; her work also examines the role of color and light, and the translation of her personal experience to a painterly surface.

The Time Is N ♀ w features artists who represent a variety of positions on the spectrum from figural representation to abstraction, including: Magdalena Abakanowicz, Ruth Asawa, Hannelore Baron, Mary Bauermeister, Lee Bontecou, Deborah Butterfield, Barbara Chase - Riboud, Elaine de Kooning, Jay DeFeo, Claire Falkenstein, Gertrude Greene, Nancy Grossman, Grace Hartigan, Lee Krasner, Yayoi Kusama, Lee Lozano, Alice Trumbull Mason, Joan Mitchell, Alice Neel, Louise Nevelson, Agnes Pelton, Florence Miller Pierce, Irene Rice Pereira, Anne Ryan, Betye Saar, Kaye Sage, Janet Sobel, Nancy Spero, Dorothea Tanning, Lenore Tawney, Alma Thomas, Charmion von Wiegand, and Claire Zeisler.

«I have attempted to invent a personal and idiosyncratic visual language in which consideration of both the history of Abstraction, and the traditions of Figural Painting are of equal and essential concern.

A show currently running at MoMa Ps1 focuses on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

The catalogue, with an essay by Frye Director Jo - Anne Birnie Danzker, documents the passage from these multidisciplinary experiments of the nineteenth century to the rise of figural and geometric abstraction in the twentieth.

«Cosmic Communism» will do justice to Freundlich's involvement in movements including Expressionism, Cubism, Dada, Constructivism, and 1930s abstraction, exploring his work in diverse media — from massive figural bronzes and black - and - white prints to sumptuously luminous abstract painting, mosaic, and glass — and elucidating the relation between his art and utopian politics.

Presenting works in diverse media, we promote art that contributes to important art - historical movements, with particular focuses on innovations in color - field abstraction, figural realism and performance art.

In this exhibition, Weiser moves further toward geometric abstraction from the figural representation of a head and torso that underlie the structure of the paintings in his first exhibition at the gallery in October of 2007.

The exhibition at MoMA PS1 in New York presents works by Maria Lassnig from all periods of her career, most of them never previously exhibition in the U.S. and spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

This diverse exhibition includes many subgenres within Contemporary art including street art, figural, conceptual, geometric abstraction, sociopolitical and landscape.

As Jaffe's annotations make clear, the transition from those heart - rending figural paintings to abstraction was made in the later 1950s, at about the time when Rothko, Newman, Gorky, De Kooning and others were similarly eliminating the realism from their work.