While painting this way, Pollock moved away
from figurative representation, and challenged the Western tradition of using easel and brush.
Deeply influenced by his exile during World War II, the artist shifted away
from figurative representation - distinctive trait of the Roman School period - and adapted a more evocative style, embracing the neo-cubist, informal tendencies of the 50s and 60s.
Not exact matches
As Vergote remarks quite accurately «The religious content of mystical visions is not different
from the content of faith;
figurative representations are derived
from natural perceptions., As far as revelation is concerned, visions add absolutely nothing.
One suggests the tiger in the book is
figurative, a
representation of things that are preventing the protagonist
from releasing his sadness.
Jack Whitten's narrative Abstract Expressionist works
from the 1960s draw imagery
from the Civil Rights movement, including ghosted images of Dr. Martin Luther King, Jr; Joan Semmel's
figurative paintings question
representation of female sexuality through the lens of self - portraiture; Gay liberation and the AIDS crisis are the cultural context for narrative paintings by the late Hugh Steers (1963 — 1995).
Linked by the works» engagement with
figurative representation, the show displayed a diverse range of mediums
from monoprint and watercolor to photography and sculpture, most of which explore notions relating to identity, society and isolation.
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.
Over the past decade, Gladstone has produced
figurative paintings that evoke dream - like spaces, free
from the logic that typically governs traditional
representation.
Teasing out common themes,
from representations of joy and loneliness to masks and the carnivalesque, this highly illustrated publication offers a very personal journey through contemporary
figurative art.
The dense, small - scale paintings included in this exhibition mark a highly prolific period in Mondrian's engagement with
figurative landscape painting — an early but deeply significant stage in the artist's methodical progression
from naturalistic
representation to complete grid - based abstraction.
In conjunction with her exhibition «Full Circle,» artist Summer Wheat shares the methods and cultural histories that guide her abstract -
figurative work,
from intuitive perception to ancient forms of
representation and knowledge.
Later he continued along this more
figurative vein, with
representations of characters
from the Iliad in a sculptural re-enactment of the Trojan wars in steel and clay.
Mitchell's paintings differed
from her Abstract Expressionist colleagues because of their use of hot colors, and Ashbery picked up on this, noting that her palette brought her work closer to
figurative representation than pure abstraction.
«I just thought it was so different
from anything that I had seen because, at the time, so many of the artists of color were working in heavy abstraction or very differently in terms of
figurative representation.»
For a moment Pollock had attenuated line almost to the point of its being free of
representation, but this was an extreme moment of style, with which he was deeply troubled, as it cut him off
from his earlier inspirations, and
from which he returned to allow abstract line to morph into
figurative signs in the black paintings of 1952.
This lead him to move away
from relatively straightforward
figurative representation into more abstract work concerned with questions of form and colour.»
From a contemporary point of view, her works can be likened to Picasso's «Guernica», as Wheat, too, uses narrative in a nontraditional way, breaking her story into segments and employing a composition that moves back and forth between abstract and
figurative representations.
Lacing Action painting and Color Field painting with a postmodern twist, Zimmermann's abstract motifs seem to spring
from more
figurative representations: he uses computer graphics and «dithering» (a technique that displays images without firm edges so as to give a more colorful appearance) to deform images, texts and signs
from his own massive archive of images, evoking the atlases of Gerhard Richter and Aby Warburg.
The Fran and Ray Stark Sculpture Terrace Adjacent to the Museum's West Pavilion, outside the entrance to the Center for Photographs, is the Stark Sculpture Terrace, with works that depict the broad outlines of
figurative sculpture's move
from representation to abstraction.
As the artist himself has said, «You can't invent a painting
from scratch; you are working with an entire tradition... The pictorial language of the 20th century,
from Kurt Schwitters's collages to Jackson Pollock's drip paintings, makes up a range of possibilities that I utilise in order to create a transhistorical
figurative painting — a painting of the image as such, of
representation» (A. Ghenie, quoted in «Adrian Ghenie in Conversation with Magda Radu,» Adrian Ghenie: Darwin's Room, exh.
In these pieces, the artist tackled genres like the still life, the portrait,
figurative representation, landscape, interiors, historical painting, political propaganda, religious iconography, and the appropriation of elements
from popular culture and art history.
Like his earlier imagery,
from the wrestler's mask to the deconstructed interior and exterior of the face, his
figurative alter egos are always figures in suspense, mediums for generic
representations that make it possible to fix a temporary, uninhibited state.
As a member of the Abstraction - Création group and with influence
from the continental avant - garde, Hepworthmovedaway
from representation andshifted
from figurative to abstract forms, althoughher works continued to maintain a visual affinity with the human form
While it was around this time that Frankenthaler's canvases began to achieve a lightness — a kind of openness that allowed the composition to breathe — it was in the 1970s that the artist had moved away
from the literal and
figurative landscapes seen in her early work, such as the celebrated Mountains and Sea
from 1952, and towards a more emotional and expressive
representation of Color Field paintings where she developed a new sumptuousness and sensuality characterized in the present work.
Possibly a view
from her apartment window at the time, it exemplifies her interest in
figurative representations and urban existence.
This
figurative sculpture made
from frozen fabric is the first work I saw on entering the fair and it's a perfect
representation of the fair in taking a typically European sculpture pose and infusing it with African influence.