Scully is best known for the epic «stripe» paintings he has made since the early 1980s: few are aware that he explored
figurative painting before turning to abstraction.
Not exact matches
At the time (not long
before Mondrian was in London
painting, and dancing, with the Nicholson / Hepworth crowd), I wonder if it could have seemed like abstraction might replace
figurative painting.
Kramer didn't seem interested that Guston had
painted figurative murals for a couple of decades
before working in abstraction, and he made no connections between the new work and the old.
While the first exhibition in 2008 * focused on the iconic Estate
Paintings, White Abstracts and History
Paintings which established Coventry's reputation in the 1990s, Works 2002 - 2009 will include an extraordinarily wide range of work, much of it overtly
figurative, including major new works that have never
before been exhibited.
A few years
before the memorable crit at MassArt, his work had been included in the Corcoran Gallery's 40th Biennial of Contemporary American
Painting, which critics saw as an antidote to the «camp and kitsch» of
figurative painters like David Salle and Eric Fischl.
Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never -
before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted,
figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.
In this
painting and others, there are still some
figurative elements, as if a person has been suspended in time
before the viewer's eyes.
Sharing the booth are newly discovered monochromatic abstract
paintings by French artist Jean Carzou, made in the 1930s
before he developed his
figurative surrealist style.
While working on both her BFA and MFA, she focused on
figurative painting, looking to the great portraitists who came
before her, like Lucian Freud and Elizabeth Peyton.
He has always been a contrary figure, emerging in the New York scene of the 1950s at the zenith of Abstract Expressionism determined to make
figurative paintings, then continuing to follow his own, more painterly path while Pop Art swept all
before it in the 1960s.
The show entitled «Love
Before Intimacy» had five works presented and comprised of allegorical suggestive
figurative paintings.
These, made during the years
before he began his late
figurative paintings, are his next step after the
paintings in the show.
Using the abstract technique of dot
painting as a means to a
figurative end, Boyd
paints portraits and landscapes in oils, watercolor, or charcoal,
before overlaying the
painted surface with dots of archival glue.
He recommended the following process in preparing a
figurative painting: «
Before dressing a man we first draw him nude, then we enfold him in draperies.
Painted at home in Spain
before he made contact with the Parisian art movement, it is apparently a coolly observant, patiently traditional
figurative painting.
From Joan Mitchell's loaded brushwork in
Before, Again IV (1985) to Wayne Thiebaud's
painting Candy Counter (1962), in which lush pigment seems to frost the images of cakes, a tactile application of
paint energizes both abstract and
figurative canvases.
From there, Leslie would experiment radically, making silkscreen boxes years
before Andy Warhol's emergence and
painting hyper - realistic
figurative scenes that would show alongside Chuck Close and Philip Pearlstein.
For many, the presence of a
figurative drawing may be surprising, but it has its own justified place here, since
before Scully began to devote his energy to abstraction, he first studied
figurative painting.
The
paintings that resulted were a major departure from what came
before — intense, monochromatic, almost
figurative works.
There he became a significant avant - garde figure,
before turning from abstract to
figurative painting in the mid-1960s, partly as a result of seeing an exhibition of Caravaggio at the Louvre.
Outside the Tate Britain gallery, members of the «Stuckist» movement which scorns what it calls the «pretensions of conceptual art» and champions
figurative painting, took aim at the Turner even
before it had seen the exhibition.
Born in Shiraz, Iran, and raised from age 8 in Cincinnati, Ohio, he trained in
figurative painting as an undergraduate at the Maryland Institute College of Art
before studying with the children of Abstract Expressionism at Columbia.
Segalman's romantic
figurative realist
paintings, largely executed in watercolor, oil, or pastel, feature anonymous figures in domestic settings, on beaches or
before city architecture whose emotions are evoked by their physical positioning or clothing.
Wuidar cites the ruined bridges and stark military architecture from his childhood in postwar Belgium as a formative memory, and his
paintings, which were initially
figurative before moving into abstraction, are charged with these sensory associations.
This has sort of changed the perspective direction of a lot of post-analog
painting, because whereas
before,
figurative painting functioned as a «window,» a recessive space with the illusion of depth, now there is a push towards illusionistic projection and forward movement.
Yet, as viewers pass
before them, the gloss
paint refracts to reveal an elaborate
figurative composition.