Sentences with phrase «generation of painters such»

Not exact matches

For generations, artists such as Mark Rothko, Yves Klein and Kazimir Malevich have attempted to locate and convey a certain ethereal quality within a space of visual absence, one that abstract painter Peter Halley defined as a «serenity or radiance».

Painters such as Noel Mahaffey, John Moore, Elizabeth Osborne and Warren Rohrer tackled traditional subjects such as the landscape, the figure or interiors with new expressive energy - stirred by Pop, and influences from an older generation of artists such as George Segal, Agnes Martin, Alice Neel and Alex Katz.

Picking up the baton from generations of male figurative painters, such as Lucian Freud, to whom she is frequently compared, Jenny Saville is often credited with a «reappropriation» of the female figure.

These are impressively adept paintings with a confident sense of scale, but they do not have a distinctive character compared to contemporary works by artists such as Helen Frankenthaler, Grace Hartigan, or Joan Mitchell, to reference only the most noted women abstract painters of Schapiro's generation.

In the 1950s Blaine emerged as an integral member of the Second Generation of New York School painters, including such figures are Larry Rivers, Jane Freilicher and Fairfield Porter.

In Art in America this month Raphael Rubinstein, after reading issues of AiA from thirty years ago, considers the fate of Neo-Expressionism, a movement popular in the 1980s championed by painters such as Sandro Chia, Enzo Cucchi, Francesco Clemente, Markus Lüpertz, and Julian Schnabel that was ultimately overshadowed by the more cerebral work created by artists like Jenny Holzer, Sherry Levine, and Richard Prince — what we now call «The Pictures Generation.»

Throughout his painting studies, Thornton Willis became highly influenced by the tenets of Abstract Expressionism embodied in The New York School of painting, including second generation painters such as Robert Rauschenberg and Jasper Johns.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872 — 1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters.

Writing in Bomb magazine, the artist Archie Rand has persuasively argued that Fishman belongs «in the last open slot of the first generation of Ab Ex,» while at the same time comparing her to such dissimilar painters as John Sloan, Frederick Remington, Bram van Velde, Pierre Bonnard, and Georges Braque.

Mr. Hendricks was an uncontested champion in a battle for figurative painters and (perhaps more importantly) Black artists long before many of my generation ever knew such battles existed.

The pendulum has now swung away from the cool, abstract and geometric art of Noland's generation and the Minimalist painters who followed them, and toward expressive figuration practiced by such artits as Julian Schnabel (MATRIX 52), Francesco Clemente (MATRIX 46) and Georg Baselitz (MATRIX 70).

The show presented three distinct generations of painters, the first being artists who rose to international prominence in the 1960s, such as Lucian Freud, Frank Stella, and Cy Twombly.

Influential on other artists after Morris Louis and Kenneth Noland first saw her work in the early 1950s, since 2000 her art has inspired a new generation of younger painters such as Carrie Moyer, Jackie Saccaccio, and Mary Weatherford.

This sale brought together some of the most in - demand artists and provided us with the opportunity to display classic German painters such as Albert Oehlen, Martin Kippenberger and Gerhard Richter alongside the major contemporary figures such as Lynette Yiadom - Boakye, Jonas Wood, Amy Sillman and Charline von Heyl who are forming the next generation of painters.

Her pioneering, immediate approach widened the practices of abstract expressionists and went on to inspire Color Field abstract painters such as Morris Louis and Kenneth Noland and generations of future artists.

Guston not only effected key artists from a generation of (predominantly German) expressionist painters in the 1990s, but continues to have far reaching influence today, including younger artists in the gallery's own stable, such as Jessica Jackson Hutchins, Volker Hüller and Eddie Martinez.

«There's such excitement in the district, especially among younger people and this gallery may inspire a new generation, not just of painters and sculptors but architects.»

The gallery has also hosted exhibitions with artists of older generations such as Michelangelo Pistoletto and Gianfranco Pardi and represents the works of British conceptual artist Stephen Willats, American feminist artist Mary Beth Edelson and Syrian born painter and sculptor Simone Fattal who have been showing since the 1960's and have greatly influenced many of the younger generation of artists.

Joyner's «four generations» begin with Spiral collective painters such as Norman Lewis and Richard Mayhew, who met in the early 1960's in New York at the studio of Romare Bearden to discuss what it meant to be an artist of color at the clarion call of the civil rights movement.

This trend among British painters (one could also cite St Ives artists such as Roger Hilton or William Scott, as well as those from the next generation, including Gillian Ayres) was echoed in the conscious efforts of critics who tried to establish gestural landscape abstractions as an international movement.

Embraced by the first generation of Abstract Expressionist painters on the East End of Long Island, she represents one of the last living links to central figures in the avant - garde of 20th century American art, including such artists as Willem De Kooning, Philip Pavia, Ibram Lassaw, John Little and Balcomb Greene.

Such an artistic upbringing instilled in Chiara a unique sensibility — reserved and determined, fragile and audacious — which she expresses in her documentary films about artists she admires: the painter Brice Marden; the architect Frank Gehry; and the group of women artists of different generations — Nancy Spero, Marina Abramovic, Kiki Smith, Ghada Amer, and Swoon — whose lives she chronicled in Our City Dreams (2008), which won her international critical acclaim.

The exhibition brings to light the radical transformation and breaking of tradition that British art underwent during this period, through works such as the rarely seen 4th Sculpture (1965) by New Generation sculptor, Michael Bolus and Op Art painter Bridget Riley's, Movement in Squares (1961).

I'm good friends with (video - maker) Stan Douglas, and with an older generation of American painters, such as Alex Katz, Chuck Close, Brice Marden, Ellsworth Kelly.

Her work joins that of peers like Genieve Figgis and Vera Iliatova (as well as that of certain female figurative painters from previous generations, such as Nicole Eisenman, Marlene Dumas, and Florine Stettheimer) in combatting art historical tropes with lyrical and complex depictions of women.

Martin Kline and Melissa Kretschmer represent a relatively younger generation of American process / image painters whose hybrid sculpture / painting work embodies the inheritance of such a turn.

Her palette seems indebted to that of previous generations of British painters, such as Frank Auerbach and Lucian Freud, with chalky browns and blacks punctuated with warmer reddish tones and minimal highlights.

In the hands of southern California artists such as Robert Irwin, James Turrell, and Doug Wheeler — not to mention a host of sculptors, painters, and object makers whose tradition now extends into several generations in whose work the immaterial becomes material, material dematerializes, light becomes object and being becomes (incredibly) light.

However, there were many second - generation Abstract Expressionists making terrific paintings, such as Joan Mitchell, Grace Hartigan, Michael Goldberg, Helen Frankenthaler, Alfred Leslie, and others, but by 1958 most of the other painterly painters had become academic.

The New York School painters of the»50s often reveled in paint for its own sake, but the generation that followed — people such as Jasper Johns, Richard Serra, Carl Andre, Robert Ryman, Eva Hesse — transmitted an irrevocably uneasy consciousness of the materiality of artworks.

Focusing primarily on painters active in the second half of the twentieth century, including Michael Andrews, Frank Auerbach, R.B. Kitaj, Leon Kossoff, Paula Rego, F.N. Souza and Euan Uglow, the book begins by introducing the previous generation of artists, such as Walter Richard Sickert, David Bomberg, Alberto Giacometti, Chaïm Soutine, Stanley Spencer and William Coldstream, who set a new path for portraying an intimate, subjective and tangible reality.

This is exemplified by the Marianne Boesky Gallery's solo booth of stunning work from the Syrian artist Diana al - Hadid, as well as by the return of established older generation artists such as the Lebanese - American Etel Adnan and Sudanese painter Ibrahim El - Salahi.

Focusing primarily on painters active in the second half of the twentieth century, including Michael Andrews, Frank Auerbach, R.B. Kitaj, Leon Kossoff, Paula Rego, F.N. Souza and Euan Uglow, the book begins by introducing the previous generation of artists, such as Walter Richard Sickert, David Bomberg, Alberto Giacometti, Chaim Soutine, Stanley Spencer and William Coldstream, who set a new path for portraying an intimate, subjective and tangible reality.

Most remarkably for an artist of his generation, Caulfield was hugely influential on much younger painters, such as Gary Hume and Paul Morrison, who found possibilities for their own work in the freshness and immediacy of his art.