Freud and Bacon are the focus, but the 100 works on display here show forebears like Walter Sickert and Chaim Soutine, the influence of teachers William Coldstream and David Bomberg, and the women breaking into the male - dominated
figurative painting world, like Cecily Brown, Celia Paul, and Lynette Yiadom - Boakye.
Not exact matches
MB: I am sure that the
painting from Cluj is associated with the term Figurative Painting, which has regained more than a fashionable status in the art world, and the «old masters» have become key reference points for many contemporary p
painting from Cluj is associated with the term
Figurative Painting, which has regained more than a fashionable status in the art world, and the «old masters» have become key reference points for many contemporary p
Painting, which has regained more than a fashionable status in the art
world, and the «old masters» have become key reference points for many contemporary painters.
Often zigging when the established art
world zagged, Wiley began creating large, unctuous
paintings inspired by the Abstract Expressionist and Bay Area Figuration movements of the time, only to swiftly move away from them in the late»60s to develop his cartoonish
figurative style, which waned in popularity as Minimalist and Conceptual art became fashionable.
But at a time when the art
world was tilting toward abstraction and internationalism, Mr. Colville was also something of an outsider, dedicated to
figurative painting and to his native Canada, where he was revered by many as «painter laureate.»
As Burri kept the distance from
figurative painting by adding from time to time a new shape to his investigation into the
world of conceptualism, Quaranta takes it all in one time.
This spring, his New York solo debut at Martos Gallery may well have crowned him the New York art
world's next darling of
figurative painting; momentum sparked when the gallery unveiled two of his
paintings at Independent New York.
2003 Kim, Christine Y., Kehinde Wiley Faux Real, Issue Magazine, December Myers, Holly, Scenes Far, Far Out of Tiepolo, Los Angeles Times, 7 November Wood, Eve, Acerbic Beauty, Artnet.com, October Thompson, Bonsu, Benefit II Society, King Magazine, September / October Stillman, Nick, Art Seen, The Brooklyn Rail, August / September Sirmans, Franklin, A Bling Bling Baroque, One
World Magazine, August / September Weisen, Barbara, Re: Figure, College of Du Page, The Guhkberg Gallery, April / May Jackson, Brian Keith, B - boy Stance, Vibe, August Stein, Lisa, Re: Figure Plays with
Figurative Painting, Chicago Tribune, 5 May Murray, Derek, Ironic / Iconic, Art in America, March Kerr, Merrily, New Wave, Flash Art, March / April Cohen, Mark Daniel, Real Art Ways, Hartford Current
At a time when renewed interest in
figurative art is surging throughout the art world, author Robert Zeller and the Monacelli Press present The Figurative Artist's Handbook, the first comprehensive guide to figure drawing, painting and composition to appear i
figurative art is surging throughout the art
world, author Robert Zeller and the Monacelli Press present The
Figurative Artist's Handbook, the first comprehensive guide to figure drawing, painting and composition to appear i
Figurative Artist's Handbook, the first comprehensive guide to figure drawing,
painting and composition to appear in decades.
Sector highlights also include a collage - like hanging of monochrome
paintings by Mariela Scafati (b. 1973) at Isla Flotante; a configuration of new works that disrupt the boundary between the domestic and the natural
worlds by A.K. Burns (b. 1975) at Callicoon Fine Arts; and
figurative paintings by Koichi Enomoto (b. 1977) at Taro Nasu.
These works marked his rejection of making
figurative art with clear references to the real
world, and in particular his move away from the post-WWII Kitchen Sink group of artists who were
painting ordinary scenes of everyday life.
Without shying away from the complicated socio - political histories relevant to the
world, Wiley's
figurative paintings and sculptures «quote historical sources and position young black men within the field of power.»
Though he emerged in the New York art
world in the 1950s during the heyday of Abstract Expressionism, Katz has been dedicated to
figurative painting throughout his career, anticipating Pop art with his bold use of color and stylized renderings of humans, animals, and landscapes.
Though he emerged in the New York art
world in the 1950s during the heyday of Abstract Expressionism, Katz has been dedicated to
figurative painting throughout his career...
Though tempting, it would be too easy, and crass, to say that there are also too many
figurative paintings in the
world.
At the heart of the Bay Area
Figurative movement — which detained Diebenkorn for about ten years — there was probably a growing reservation about «American - type»
painting and its New
World hubris.
Somber,
figurative works made at a time when Pop Art and Minimalism were the main focuses of the art
world, the Black
Paintings preface Spero's radical career.
Guston, in turn, went back to his origins by
painting figurative images in the late 1950's, which earned him fierce criticism that led him to retire from the art
world.
After a twenty year career as a
figurative painter, I began
painting abstractly two years ago and have been conflicted about it ever since, thanks in large measure to the state of the art
world.
Rarely do these commissions make any kind of larger statement about American art, but last fall, when Barack Obama selected Kehinde Wiley — a
figurative painter who deploys the techniques, poses and patterns of the grand tradition of Baroque European
paintings to portray contemporary black and brown men he finds on the street — to
paint his official portrait for the Smithsonian, it at least reflected the Obamas» well - developed connections to the
world of culture.
But Kitaj was not alone in his feeling that
figurative painting was being neglected by the art
world powers.
Perhaps pursuing abstract art tends to reflect such a view of uncertainty, whilst
figurative art always gives one a hold, a connection to a wider
world, outside of the act of
painting.
One of Australia's foremost contemporary artists working today, Barton's distinctive use of line across
painting, illustration, video and collage creates a vibrant
figurative dream
world, rich with personal references and poignant juxtapositions.
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, L
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
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
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
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, L
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
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, L
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
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
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
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
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, L
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
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, L
figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
This exhibition of work by New York - based artist Summer Wheat (U.S., born 1977) features a suite of large - scale abstract -
figurative paintings that serve as both portals to imaginary
worlds and as mirrors that reflect interior states of being.
By combining
figurative painting with abstract expressionism, he created a style which displayed a well - crafted balance between planes and surfaces which can be seen only in the most prestigious gallery and museum
world.
There are probably several reasons why I turned to photography: first of all, because only this medium can hold completely unseen fragments of the
world, and because its enormous popularization has turned it into the container of a visual heritage that is practically infinite, in comparison with the rigid traditional structures of the genres of
figurative painting.
Later in life, Russell, disillusioned with abstraction, turned to
figurative painting, with inspiration from the classical
world.
In his ambitious canvases, long considered a hallmark of contemporary
figurative painting, he creates a tense
world of both comfort and portentous ambiguity.
During 2014's «Prospect.3: Notes for Now» — the third iteration of the city - wide contemporary art triennial in New Orleans — the Contemporary Arts Center was filled with a selection of abstract
paintings,
figurative works, video installations, and fish tanks full of coral — all pieces created by artists from around the
world.
Early in his career Scully made
figurative work to which he still feels indebted: «To this day my
paintings retain a sense of the body, and the feeling of a physical relationship with the
world.»
His control of the overall design of a
painting was reminiscent of Ingres, his palette toyed with Matisse and the Fauves, his reassembling of the
world under his own rules reflected the spirit of Picasso and the Cubists; but he was his own man - wryly observant,
figurative, photo - realist, abstract, always forging his own identity amidst the white noise of modern culture.
And it does seem to be part of a new spark of interest in the expressionist and the painterly that is emerging in the art
world of late, with several recent shows spotlighting
painting of a decidedly
figurative and subjective bent.
Wall texts lay out his basic themes and motifs, from strange meditations on Donald Duck and the «tent
paintings» in the 1960s to later works that took up symbols from Germany's Nazi past, and repurposed them as surreal «dithyrambs,» a term borrowed from Greek poetry but reinvented by Lüpertz as a catchall for his not - quite - abstract forays into abstraction and not - quite -
figurative exercises in drawing real things in the
world.
Kehinde Wiley's canvases, which repopulate Old Master portraits with young black men in contemporary streetwear, have been hailed inside and outside art -
world circles as triumphant examples of contemporary
figurative painting.
Looking around the modern art museums of the
world today, realistic,
figurative painting is not highly visible.
David Cohen reads a passage on Philip Guston working in the 1960s, after Timothy Hyman's book, «The
World New Made:
Figurative Painting in the Twentieth Century.»
Geopolitical damage, scars of violent activity, they are a part of the
world which we live and that's what I am attempting to
paint, so in the tradition of
figurative painting where you render the
world into two dimensions, I am rendering the real
world in my case in three dimensions.
Her early work — large acrylic,
figurative paintings — came to prominence in the 1970s New York art
world, a time and place almost completely dominated and defined by Minimalist aesthetics and theories.
Indeed, for a number of years Tomaselli has embraced the natural
world in radiant, highly decorative
paintings that make almost no distinction between the illusory and the real, the
figurative and the abstract.
Russeth reports that Baer spoke on her decision to leave the New York art
world, her lesser known (in America)
figurative paintings, her experience as a female artist, and her move away from minimal abstraction.
Still, the show does promise to help assert the continued relevance of
figurative painting in today's anything - goes, hodgepodge art
world.
In more cryptic, abstract
paintings than the ones
painted in Maine, he had memorialized the young Prussian lieutenant Karl von Freyburg in Germany, with whom he was in love and who would die in
World War I. His Maine
figurative paintings and drawings depict brawny loggers and men in swimsuits, reflecting what to a contemporary eye is clearly homoeroticism, though apparently it was not construed as such when Hartley made the
paintings.
She compliments Quintana's surreal
world with new black and white photographs and notably, her first
figurative oil
paintings and graphite.
Although my work doesn't look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in
paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create
figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary
worlds.
burst onto the scene and into the spotlight, heralding the revival of
figurative painting in the contemporary art
world.
Light and effects it produces on objects became the sole elements of interest represented on their
paintings, while
figurative world and visual veracity slowly disintegrated.
His followers also admire his absolute independence: When all the art
world was abuzz about Abstract Expressionism in the»50s, Bischoff instead turned to
painting recognizable (albeit loose and bold) figures, thereby — along with painters Richard Diebenkorn and David Park — launching the Bay Area's
Figurative Movement.
I think intellectually the dolls were my personal way around all the prohibitions against
figurative painting that had been the kind of official dogma of the serious art
world since at least the late»40s.
As a young painter coming into art in the early 1960s, Georg Baselitz (born 1938) was swift to reject the gestural abstraction that had dominated European and American
painting since the end of
World War Two, embracing instead a bold
figurative expressionism.
The
figurative and abstract elements of his
paintings reinterpret the visual information of the
world, through the use of sharp lines that create ominous compositions.