The move from
figuration to abstraction in the 20th century could be seen as a continuation of this trend.
The move from
figuration to abstraction in the 20
Not exact matches
move back and forth between
abstraction,
figuration and the combination of the two a lot
in my work as well as changing scale from very small
to very large....
It both brought him
to the attention of a wider public at a time when Abstract Expressionism still held sway
in the eyes of the New York art world, and it documented, step - by - step, his transition from
abstraction to figuration.
LOS ANGELES — Curated by Kristina Kite and Sarah Lehrer - Graiwer, the artists and works
in About Face employ ideas of scale, zoom, and cropping
to complicate
figuration and portraiture
in relation
to abstraction.
Freud's adherence
to realism and focus on the human figure, when
abstraction and other progressive forms of practice were more prolific, moved him
in and out of the spotlight until the 1980's when renewed international interest
in painting and
figuration gave his work a new significance.
Journey from
figuration to abstraction through a sequence of drawing, collage, stenciling, and painting
in this afternoon studio workshop taught by contemporary artist Yevgeniya Baras.
During the same period of the late 1960s, and early 1970s
in Europe, Gerhard Richter, Anselm Kiefer [49] and several other painters also began producing works of intense expression, merging
abstraction with images, incorporating landscape imagery, and
figuration that by the late 1970s was referred
to as Neo-expressionism.
Haynes» work is clearly «abstract», and participates
in a relatively minimal pictorial economy that is often seen as one of
abstraction's disadvantages compared
to figuration.
Combining her formal background
in illustration,
abstraction, landscape,
figuration, and her interest
in mysticism, spirituality and Kabbalah - Appel creates a uniquely original interpretation of the ages old Tarot deck, and is probably one of the only contemporary fine artists
to undertake such an ambitious project.
Villar Rojas's installation at the Serpentine Sackler therefore provides the perfect chronological extension
to Merz's conception of the non-heroic
in art by prioritising the site and the viewer, while still making reference
to two of the older artist's key concerns: the
figuration -
abstraction binary and the focus on «raw» materials.
Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing,
in these formative paintings, a visual style indebted
to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto -
abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of
figuration into the realm of the theological, the philosophical and the historical.
More painting, tending
to semi-abstract, as imagery edged out
abstraction; such were Chris Ofili's etched
figurations that emerge as copulations out of a mottled blue backdrop, and Fondation Beyeler's three - wall installation of tiled pixellation that
in photographs reads as porn.
This immersive installation continues Ziegler's interest
in processes of translation: from image
to sculpture,
figuration to abstraction, from the virtual
to the physical.
Explore Lee Krasner's journey from
figuration to abstraction through close looking at two of her works: Self - Portrait (1930) and Untitled, from the Little Images series (1948)
in this gallery talk by Jenna Weiss, Manager of Public Programs.
An introduction
to the American artist who sustained virtuosity
in a range of styles, from gestural
abstraction to figuration and back again — illustrated with works offered
in May
to benefit The Donald and Barbara Zucker Family Foundation
Known for his carefully constructed paintings that move effortlessly between
abstraction and
figuration, the imagined and the real, this new body of work sees de Balincourt moving away from direct references
to current social, political or popular culture, and instead depicting a world
in which indications of specific place or time are absent.
These ambiguous combinations of
figuration and
abstraction were first introduced
to the public
in Tillmans» Parkett Edition, 1992 - 98, 60 unique works on color - negative photographic paper.
His painterly practice has always oscillated freely between
figuration and
abstraction, but
in the past few years gained a specific focus on the relationship and dichotomies between Western and Asian approaches
to landscape painting and nature.
In the mid-1950s he painted the urban abstractions, returning to figuration in the 1960s, then to the large gestural abstractions in the 1970
In the mid-1950s he painted the urban
abstractions, returning
to figuration in the 1960s, then to the large gestural abstractions in the 1970
in the 1960s, then
to the large gestural
abstractions in the 1970
in the 1970s.
However, for the six artists included
in this exhibition the figure was still an evocative form or symbol
to explore and they believed that
abstraction and
figuration need not be mutually exclusive.
Although subject
to censorship and marginalization during her lifetime due
to the highly subversive nature of her work, Rama has been celebrated
in recent years as a key avant - garde figure
in the development of both
abstraction and
figuration from the 1930s onward.
At the time, Andersson was not well known
in the States, yet it was immediately clear that her paintings epitomized an approach
to form that could be characterized
in Ferguson's terms: Old dichotomies of
abstraction and
figuration had been erased, and art history had become available as a kind of stylistic smorgasbord
to be drawn on at will.
Does all that black
figuration recall late Jackson Pollock, the overlapping planes of a Willem de Kooning
abstraction, or Robert Motherwell
in his Elegy
to the Spanish Republic?
Guston's
figuration, which is present
in his early work, is revisited here
in Low Tide (1976), where the waters of
abstraction ebb
to reveal unsettling fragments.
Featuring key works from the late 1950s
to the early 1970s, the exhibition will highlight an important period
in Calderara's practice, namely his shift from
figuration to abstraction.
Think of echoes of
figuration in Pollock or Willem de Kooning, who veered from
abstraction to Woman I and back.
Their approach
to art differed, and included formalist explorations,
abstraction, but also from the 1960s onwards an interest
in popular culture and
figuration.
One of your major contributions
to painting is your continual refusal
to admit the separation of
abstraction and
figuration, embedding people - like shapes doing hazily recognizable things
in paintings that otherwise look like the gestural
abstractions of de Kooning or Diebenkorn.
The images themselves are always beautifully rendered and subtly intricate — and most often mysterious, leaving it
to the viewer
to decipher... «
In this way I strive
to marry art and science, identity and obscurity,
figuration and
abstraction, the carnal and the spiritual.»
AMCDKlaus Kertess has written, «Cecily Brown's paintings swing precariously from improvisation
to more conscious control, from
abstraction to figuration — avoiding closure, reveling
in ability and surprise.»
Since the 1950s, artist Maria Lassnig has incorporated painting techniques from various art - historical periods into her practice — realism, surrealism, and expressionism alike —
in an effort
to develop a distinct style of painting that blends
figuration with
abstraction.
Taking the route of big, brushy and ethereal
abstraction after graduation
in 2005 from the Art Institute of Chicago, her work has seen a recent turn
to figuration.
It flirts with different genres of
abstraction and
figuration, and this was
in itself enough
to secure him powerful critical support.
This sensibility speaks
to the heightened color of Schutz's rambunctious mix of
figuration and
abstraction in wildly imaginative scenarios.
In this endeavor, Hughes aligns himself squarely within the tradition of painters like Paul Klee and Wassily Kandinsky, whose groundbreaking ideas gave rise
to a main branch of contemporary American
abstraction which espouses the possibility of conveying the full range of human experience through the raw materials of paint and renders moot the distinction between
abstraction and
figuration.
Despite this precision she is highly versatile, and her paintings vary from
abstraction to figuration to kooky nature landscapes
in which the animals cohabitate
in a harmony that limns the absurd (a monkey reaches out playfully
to a butterfly, an owl stakes out a fragment of moonlit night amidst a backdrop of blue sky and puffy clouds).
These paintings combine
abstraction and
figuration in layered, painterly compositions
in which the artist strives
to convey his own personal and particular view of the world with «extreme clarity.»
Initially concerned with
abstraction, his work moved
to figuration in the mid-1970s, when it became preoccupied with the effects of light and movement.
Peter Schjeldahl writes
in the October 9th, 2017 issue of The New Yorker, «The happiest surprise
in Trigger is a trend
in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies
in Quarles's cheerfully orgiastic pictures entangle
in alternating styles of line, stroke, stain, and smear... called
to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque
figuration on the way
to physically engaging
abstraction... Quarles playing that process
in reverse, adapting abstract aesthetics
to carnal representation.
Revered as one of the great post-war masters
in his native United States, Diebenkorn moved from
abstraction to figuration and back again, often disregarding the popular styles and trends happening around him,
in order
to solve complex, self - imposed compositional problems
in his paintings.
Organized by the Pennsylvania Academy of the Fine Arts (PAFA), Procession considers the complexity of Lewis's art
in its entirety, examining his use of
figuration within his abstract expressionist style, his ability
to integrate social issues and
abstraction, and the surprising and expressive palette he championed throughout his career.
Different
in scale and style, his painterly production contemplates both intimate and delicate paintings where
figuration fades into
abstraction, as well as more exuberant and confrontational works that deploy references
to pop culture, sexuality and consumerism.
In her paintings of the 70s, Steir often combined realistically painted flowers with a grid or color field, on one hand paying homage
to admired Minimal artists Sol LeWitt and Agnes Martin, and on the other, questioning the dichotomy between
abstraction and
figuration.
Perhaps as a result, the most powerful of his abstract paintings may be among his least - known — works made, presumably, after the 1961 show of
abstractions but before the fateful meeting of the Spiral group
in 1963, after which Bearden returned
to figuration.
Tiny, intricate markings
in pen and ink give way
to rhythmic, voluminous forms that dip
in and out of
figuration and
abstraction.
Works that expressed a personal or political viewpoint through
figuration were considered
to be retrograde
in comparison
to the radical
abstractions created by the great American painters of the forties and fifties.
It was after Waisler's journey
to India
in the mid-90s that his works moved toward
figuration and away from pure
abstraction.
Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative
to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel
in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in Europe and Beyond Meanwhile
in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in Europe: abstract painters immediate responses
to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued
to make figurative work as
Abstraction was rising
to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric
Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock
In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting
in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of
figuration and expressionism
in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in the 1970s and 80s, including many artists who have only been appreciated
in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era
in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s
to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint
to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s
to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
Beauty and horror, matter and content,
figuration and
abstraction,
in which way are your paintings related
to this dichotomies?