Sentences with phrase «garde painting movement»

Macdonald - Wright, 1890 - 1973, was a pioneer of American abstract art who, with painter Morgan Russel, founded «Synchronism,» an avant - garde painting movement meaning «with color,» according to writings.

Not exact matches

As the millennial generation is coming of age, there's been a recent artistic movement from the traditional paintings of sailboats near the sandy shores to provocative and avant - garde work.

Passlof and Resnick came of age as artists in New York in the 1950s during the ascendancy of this nation's first internationally recognized avant - garde art movement, the New York School of Painting.

This Cuban painter moved in avant - garde circles in pre-second world war Paris, joined the surrealist movement, then returned home to paint his masterpiece The Jungle (1943) in which masked dancers move in a dreamlike space.

Still & Art begins with Still's acknowledgment of Old Masters he admired (among them Leonardo da Vinci, Rembrandt, J.M.W. Turner, and Vincent van Gogh); progresses to his interrogation of near - contemporaries such as Max Ernst and Pablo Picasso; and concludes with epic canvases, pastels, and photographs that reveal the artist meditating on his own past production as well as the spirit of color - field painting, minimalism, and comparable avant - garde movements of the 1960s and»70s.

Back in New York, immersed in the circle of artists known as the New York School and with Cage and Cunningham's avant - garde influence as a foil, Rauschenberg explored many of the central ideas of Abstract Expressionism, both acknowledging and transgressing the movement's emphasis on gesture, individualism, action, and direct expression through paint.

The critic and founding editor - in - chief of Artnet magazine for 16 years, he has chronicled the «radical masquerade» of the avant - garde, heralding new talent, skewering the deserving, and identifying epochal shifts in the art scene, from his pronouncement that «there are no art movements, only market movements» to his lament about the rise of «zombie formalism» in contemporary painting today.

Originally a painter and lithographer, Roszak transitioned to sculpture following an 18 - month fellowship in Europe, where he became fascinated by Constructivism, the Bauhaus, and other European avant - garde movements, particularly the spellbinding paintings of Giorgio di Chirico.

The juxtaposition of paintings from Shchukin's collection with selected works by the pre-Revolutionary Russian avant - garde will serve to highlight the remarkable role this self - effacing and quite austere man played in the modern movement by promoting the work of some of its greatest exponents.

The impermeable border within Germany famously tempered the advance of Western avant - garde movements in the East, where figurative painting maintained its predominance.

At the outset of Modernism, geometric shapes in painting and sculpture were being foregrounded by the Western avant - garde — in Russia with the Suprematists and Constructivists, in Holland with the De Stijl movement, and in Germany with the Bauhaus < «p >

After finishing his studies and starting to paint full - time, Ufan would go on to become a key theorist and establishing member of the Mono - ha, an avant - garde materials - based art movement in 1960s Japan and the first Japanese contemporary art movement to gain international recognition.

Collecting priorities have included paintings and sculpture by nineteenth century artists who benefited from Jewish emancipation and work by Jewish artists whose pivotal involvement in avant - garde and modern art movements helped to shape the School of Paris and the New York School.

Rooted in the Metaphysical Painting of Giorgio de Chirico (1888 - 1978), the revolutionary painterly ideas of Cubism, the subversive art of Dada and the psychoanalysis ideas of Sigmund Freud and Carl Jung, Surrealism was the most influential avant - garde art movement of the inter-war years.

At this event in Berlin, the Daimler Art Collection (which concentrates on abstract avant - garde movements and reduced conceptual tendencies from Bauhaus to current contemporary art) presents mainly new acquisitions in the field of international contemporary art for the first time.The presentation of our Ampersand exhibition includes site - specific installations and video art as well as paintings, drawings and photography.

Alexander Bogomazov, born in Kiev in 1880, was a central member of the Russian avant - garde and one of the masters of Cubo - Futurism, a school of painting that, as its name suggests, combined two of Modernism's most dynamic movements: Cubism with Italian Futurism.

While having contributed to the Concretist and Neoconcretist movements that stormed the Brazilian avant - garde, she was never associated with a single movement but her work contained elements of Lettrism, Color Field painting and early conceptual art.

Opening: «Asger Jorn: The Open Hide» at Petzel Gallery One of the founding members of COBRA — a postwar avant - garde movement consisting of abstract artists from Copenhagen, Brussels and Amsterdam — Asger Jorn is famous for the spontaneous use of color and form in his experimental paintings, drawings and sculptures, made from the mid-1930s through the time of his death in 1973.

Presenting a diverse group of artists and activists who lived and worked at the intersections of avant - garde art worlds, radical political movements, and profound social change, the exhibition features a wide array of work, including conceptual, performance, film, and video art, as well as photography, painting, sculpture, and printmaking.

The international CoBrA movement of 1948 - 1951, a European avant - garde embodying post-WWII freedom, has been compared to American Action Painting in both its aesthetic and its effect.

By then he was a leading figure of the Munich avant - garde and, together with German painter Franz Marc, he would found the hugely influential Expressionist «Blue Rider» movement in 1911, named for his painting, Der Blaue Reiter (1903).

The European equivalent of the gesturalism or «action painting» style of American Abstract Expressionism, COBRA was a non-conformist avant - garde movement founded by painters, sculptors and graphic artists from the Danish group Host, the Dutch group Reflex, and the Belgian Revolutionary Surrealist Group.

Not until the formation of avant - garde movements like the Irish Exhibition of Living Art, were abstract paintings shown in any numbers.

• Minimalism (fl.Late 1960s, 1970s) The first big postmodernist art movement, this embraces paintings by outstanding postmodernist artists like Robert Mangold (b. 1937), Agnes Martin (1912 - 2004), Ad Reinhardt (1913 - 67), Brice Marden (b. 1938), and Robert Ryman (b. 1930), and a number of avant - garde sculptors.

He was a co-founder of Synchromism, an early abstract, color - based mode of painting, which was the first American avant - garde art movement to receive international attention.

Still, while the two exhibitions remain on view (the Curry, at the de Young, through Aug. 30 and the Spencer, at the Legion of Honor, through Sept. 6), they allow us to look at two artists from different cultures who adhered to traditional modes of painting while avant - garde movements, from post-impressionism to abstract expressionism, flourished around them.

The estimated 1,600 works included paintings representing avant - garde movements in Europe.

When we last heard from Tim Biskup (here), he was reaching into the annals of the avant - garde movement, blending his signature, quilt - like painting style with references to the great artists of the early 20th century.

This first iteration of what is now a global institution spent the first 10 years avidly exhibiting the very finest international examples of the proponents and antecedents of this particular avant - garde and predominantly European abstraction, including those who were considered to be the founders, at least according to Rebay, of the movement of non-objective painting: namely Wassily Kandinsky and Rudolf Bauer.

Part of the avant - garde movement that included Henri Matisse, Maurice de Vlaminck, and André Derain, van Dongen employed aggressively clashing colors to paint sensuous and even garish representations of the fashionable French bourgeoisie, and the wealth that permitted their leisurely lifestyle.

In 1944 MoMA bought one of his paintings for their permanent collection and his reputation, as a leading figure in America's avant - garde art movement, began to take hold.