Sentences with phrase «for color field painting»

It took another two years for Color Field painting to fully surface worldwide.

The 81 - year - old artist opens up about fundamental matters of his work, life and mental health, explaining why he abandoned figurative works for Color Field painting, why purple is his favorite color, how his frameless paintings came about, and his views on fatherhood (««Dad» is the sweetest word I've ever heard.»)

The museum has also commissioned site - specific installations by Sam Gilliam, the Washington, D.C. - based artist recognized for his color field painting and New York artist Chakaia Booker.

WASHINGTON — Starting in the late 1950s the great American art critic Clement Greenberg only had eyes for Color Field painting.

Rothko is most well - known for his color field paintings, which he began painting in the late 1940s.

Gilliam, an internationally known artist whose work is influenced by Abstract Expressionism, is recognized for his Color Field paintings and pioneering works on unsupported canvases which he first introduced in 1965.

He is perhaps best known for his color field paintings and for his passion for the color red.

BORN IN TUPELO, MISS., Gilliam lives and works in Washington, D.C. Associated with the Washington Color School, Gilliam is known for his Color Field paintings and most notably for removing the stretcher supports from his color - washed, abstract canvases, creating draped, sculptural works with his paintings.

George Chaplin is an American artist, known for his color field paintings and use of spectral opposites in his supremely atmospheric body of work.

Not exact matches

David Einstein was one of the seminal figures responsible for the spread of Color Field painting to California in the 1960s and later.

Color Field painting is here short described and explained in core quotes, for art students, pupils and maybe even for art teachers.

The 80 - year - old Sam Gilliam, known for his ravishing color - field canvases that he sometimes drapes sculpturally on the wall, painted a monumental canvas stained and splattered all over with hot pinks and reds, titled Red April (1970), in direct response to the assassination of Martin Luther King Jr. on April 4, 1968.

The top lot of the morning was Roy Lichtenstein's Modern Painting with Yellow Interweave (1967), which sold for $ 3.43 million, beating out out Kenneth Noland's Heat (1958), which finished at $ 3.37 million, a new record for the Color Field artist.

Remarkably original when they first appeared in the 1960s, these paintings became the signature expression for one of the leading Color Field painters.

Color Field pioneer Sam Gilliam, for example, first applied acrylic paint to raw, unprimed canvas by staining it like a piece of fabric, as realized in the sculpture - painting hybrid Hedge Sky.

Kenneth Noland, working in Washington, DC., was also a pioneer of the color field movement in the late 1950s who used series as important formats for his paintings.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

Associated with movements as diverse as Abstract Expressionism, Color Field painting, Minimalism, Op art, and Postmodernism, the artists featured in Rothko to Richter were at the forefront of debates about the changing priorities and imperatives of painting after World War II, each seeking to redefine abstraction for new social and cultural milieus.

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

Painters such as Kenneth Noland, Helen Frankenthaler, Dan Christensen, Sam Francis, Larry Zox, Ronnie Landfield, Larry Poons, Jules Olitski, Gene Davis, Ronald Davis, Sam Gilliam and others successfully used water - based acrylics for their new stain, color field paintings.

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

Sites, subjects, and methods of observation are critical to each artist's visual language: planted fields, elevations seen from an airplane window, gradations of color in a sky reflected on a watery plane, shapes glanced at through apertures between buildings, or the puzzle of shapes in a tapestry - like world are some of the inspirations for the paintings shown here.

Magna, a special artist use acrylic paint was developed by Leonard Bocour and Sam Golden in 1947 and reformulated in 1960, specifically for Morris Louis and other stain painters of the color field movement.

In Innes's own words, «It wasn't sufficient for me to cover a painting in a single color and then inscribe the field with a line.

Gene Davis (August 22, 1920 - April 6, 1985) was an American Color Field painter known especially for his paintings of vertical stripes of cColor Field painter known especially for his paintings of vertical stripes of colorcolor.

Mark Rothko (1903 - 1970) was an American Abstract Expressionist painter known primarily for his paintings of glowing pulsating fields of unbroken color.

Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland.

His paintings were lauded for their luminous, ethereal, and tactile fields of bold gesture and color.

Known for their distorted color fields, the television's unnatural colors could be the real explanation for the overwhelmingly orange hue of the paintings.

She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting.

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.

An early and influential pioneer of Color Field painting, Louis gained renown for his innovative method of staining raw canvases with washes of pigment to create vibrant, large - scale works.

In his later years, this interest was more important for the artist, who began to paint in smaller strokes, building the decorative surface of the canvas with broad fields of color.

As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective painting, that allowed for thinned - out oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Early in her career she developed the stain painting technique, which became a catalyst for a generation of color field painters.

A major influence on Pop Art, Minimalism, hard - edge and color field painting, Ellsworth Kelly's best - known works are distinguished by sharply delineated shapes flatly painted in vivid color, such as Colors for a Large Wall (1951).

The Columbus Museum of Art and Denver Art Museum present Mark Rothko: The Decisive Decade, 1940 — 50, a major exhibition tracing the evolution of Rothko's work from his Surrealist - influenced, figurative compositions of the early 40s to the abstract, color field paintings for which he is best known.

Ellsworth Kelly (born 1923), best known for his large - scale, color field painting, first experimented with reductive geometry in paint and wood in 1949.

A pioneer of color field painting in the 1950s, Walter Darby Bannard (1934 - 2016) was committed to color - based and expressionist abstraction for over six decades.

While Newman's work reeled viewers into a color field, Swavely's paintings resist close inspection, for as one approaches, the brushstrokes that once felt voluminous fall flat, having been washed away by turpentine - soaked rags scrubbed across canvas heavy with oil.

There was also increased recognition for significant artists whose importance might have been overshadowed previously, such as 84 - year - old Sam Gilliam, whose abstract «color field» painting at New York's Mnuchin gallery sported a red dot sticker — meaning it was sold — early on.

While for Rothko the side of the painting had color to it that not only showed the stages of its making but also indicated an environmental continuity between the painting and its site of placement, this strip, finished with a neutral light - reflecting color, signified a concept of separation between the discrete field of painted canvas and its surroundings.

Helen Frankenthaler was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting.

Ms. Yuskavage, age 53, gained an international reputation in the 1990s for using Renaissance - era techniques to paint cryptic images of women, often nude and set within epic landscapes or saturated color fields.

There is also a very direct reference to Color Field paintings, which for many years I considered the ultimate bourgeois paintings.

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 loFor 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 lofor 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.

Known for his vivid «stain» paintings, Morris Louis was an American Abstract Expressionist and color field painter.

In Woman, 1969, a rarely seen painting, on view here for the first time in New York, de Kooning pulls the twisting figure out from fields of color.

In the «color field» paintings of Kenneth Noland, John Hoyland and Etel Adnan, for example, pure planes of colour dominate and individual gesture becomes secondary to colour and line, and their interactions.