Sentences with phrase «influence on abstract painting»

Sean Scully is a major influence on abstract painting in the visual art of Ireland and is a member of Aosdana.

This display will also demonstrate development of Josef's work in the years that precede the «Homage to the Square» paintings, which had such a huge influence on abstract painting and colour theory.

Timothy Taylor Gallery, London until 12 July 2014 Jazz and blues have always exerted an influence on the abstract paintings of Sean Scully RA, but he has perhaps never acknowledged its influence as clearly as his new remarkable quintych at Timothy Taylor — A Kind of Red (2013), comprised of five large - scale oil - on aluminium panels, in response to Miles Davis's modal classic A Kind of Blue.

Not exact matches

Influenced by feminism, quilt design, and non-Western as well as Western art, Ms. Valdez combines paint, fabric, and embroidery on canvas to yield abstract forms with undeniable relation to the human body.

Avery's daring color juxtapositions and abstracted depictions of classic subject matter exerted a highly important influence on Post-War American painting and anticipated the works of Mark Rothko and Adolph Gottleib, among others.

Under their influence, Kline began to move away from the figuration, exploring the new abstract gestural technique on the large scale paintings.

Renowned for her challenging optical and hard - edged abstract paintings, the artist had a significant influence on the Philadelphia art scene for over forty years.

The influence of Minimalism in the 1960s had profound effect on abstract painting.

In the late 1940s, she began teaching at the California School of Fine Arts, where she met Clyfford Still, whose abstract expressionist paintings had an important influence on her approach to sculpture, and she began to allow more room for the accidental and the spontaneous.

Less an exhaustive survey of contemporary abstract painting than a bringing together of extraordinary works by exceptional artists, Inherent Structure encourages viewers to meditate on the underlying sources and influences of abstraction by providing varied and multiple manifestations of it.

Panel II: Digital Abstraction This panel will hone in on abstract painting influenced by digital imaging techniques, digital technologies, and new / post media theory.

Drawing influence from a range of sources, including Abstract Expressionism and his African - American heritage, but hewing to none, Stanley Whitney produces abstract paintings focused on color.

Doug Trump's Drive to Aix is a small mixed media painting on museum board with abstract expressionist influenced gestures and composition.

My abstract art is conceived from my life experiences and observations then developed depending on my mood and other differing influences like listening music while I paint.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

David Park and Milton Avery — who bucked the trend and painted the human figure in abstract - expressionist times — receive deserved attention in a gallery show highlighting their substantial influence on two major postwar art movements.

Although Josef Albers» influence on color theory is pervasive, CMYK reveals that artists continue to experiment and explore the infinite possibilities of mixing pigments based on cyan, magenta, yellow and black (K), illustrating that the future for abstract painting is as vast as its past.

Herrera's geometric, hard - edged abstract paintings, influenced by her university degree in architecture and singularly focused on the interactions of space and color, prefigure the Op Art and Minimalism of artists like Ellsworth Kelly, Frank Stella, and Kenneth Noland.

Influenced by the emergence of abstract expressionism, the New York School, Color Field Painting and the Washington Color School, Gilliam's early style developed from brooding figural abstractions to large paintings of flatly applied color and paintings of diagonal stripes on square fields.

Fauvism and Henri Matisse in particular became an important influence on both abstract expressionism and color field painting, important milestones of Late Modernism.

Doug Trump's Hand to Hand is a small mixed media painting / collage on museum board with abstract expressionist influenced gestures and composition.

This lecture begins by exploring the roots of northern Romantic landscape painting (as outlined by Robert Rosenblum in Modern painting and the Northern Romantic Tradition) and its influence on later modernist abstract painting.

A link between the two coasts, Still had a profound influence on students such as Jefferson and Lobdell who were interested in abstract painting.

While the two schools of abstract expressionist painting shared certain characteristics ---- large scale; bold, gestural brushwork; emphasis on the materiality of paint; figure and ground equal or collapsed into overall, non-hierarchical compositions ---- Bay area artists, influenced by Asian cultures and the expansiveness of the western landscape, in addition to European painting, invited landscape references into their work whereas New York painters resisted such associations.

Although focused on classical drawing and painting, she soon began dabbling in more abstracted works, clearly influenced by the likes of Willem de Kooning, Egon Schiele and Robert Rauschenberg whom she came to know briefly in his later years.

With Rothko an influence, Morico spent years painting abstract expressionist paintings after graduating in 1994 from Paier College of Art in Hamden while pursuing a career as a graphic artist, including on a freelance basis the past 10 years.

Letzelter's practice encompasses works on paper, paintings, and photography, with a focus on abstracted landscapes influenced by the confluence of industry and natural processes on man - made sites.

Kikuo Saito, known for his abstract, color - field paintings, Butoh - influenced set designs and wordless performance - plays, died on February 15, at age 76, in New York City, where he had lived for 50 years.

Here on BBC Arts we take an in - depth look at the influence of abstract art on modern design with renowned designer Peter Saville; saxophonist Soweto Kinch explores how jazz embraced abstract through its album cover iconography; Alastair Sooke talks technique as he gets inside the world of abstract master Jackson Pollock, finding out just how challenging it is to create one of his famous drip paintings.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

The town rapidly became a centre for abstract avant - garde landscape painting, and attracted a new generation of creative practitioners like Terry Frost, Patrick Heron, Roger Hilton, Peter Lanyon, John Wells and Bryan Wynter, who had a significant influence on the evolution of fine art painting in the UK during the second half of the 20th century.

The Czech painter Frank Kupka (1871 - 1957) produced some of the first highly coloured abstract paintings, which influenced Robert Delaunay (1885 - 1941) who also relied on colour in his Cubist - inspired style of Orphism.

Her abstract paintings on canvas and paper employ gestural mark - making and colors that are influenced by the palette and forms of the Chilean landscape, the country's pre-historic rock art, and its classical music.

Before his colossal influence on street and fashion photography, Klein was trained in abstract painting in Paris under Fernand Léger.

Markus's art typically binds three influences: the visual style of a historic male painter, pop culture imagery, and a painting technique from the abstract expressionists that lets colors randomly mix on the canvas.

Reflecting on the influence that Concrete art's appearance and concepts had on later manifestations of abstract art, including Op - art and Hard - Edge painting, Saul Sánchez utilizes the square, repeatedly, as a reference to the historical traditions he is addressing.

Mickalene Thomas recognizes the history of modernism as an influence on her even as she abstracts the Monet references into blocks of color in the painting.

Nashashibi's exploration into painting is in some ways influenced by her upcoming film on Guatemala - based painter Vivian Suter, and her previous film The Painter, 2013, a semi-portrait of Renée Levi in the studio and her highly physical practice of producing large - scale gestural and abstract paintings.

Barnett Newman, Ellsworth Kelly, Robert Rauschenberg, Ad Reinhardt, who even became a close friend of Martin's, as well as the fields of abstract expressionism and color field painting, had some influence on her.

The resonant exhibition at CANADA is important not just because it shines a light on the subliminal influence the S / S movement has had on our contemporary aesthetic, but also because it reinforces the notion that abstract painting can be rooted in politics.

[6][6] For Homer's influence on Marin, see Bruce Robertson, Reckoning with Winslow Homer: His Late Paintings and Their Influence (Cleveland, OH, 1990), 149 — 153 Marin's Maine seascapes have also more recently come to be understood, as they had been at the time of Marin's death, in the context of the works of the abstract expresinfluence on Marin, see Bruce Robertson, Reckoning with Winslow Homer: His Late Paintings and Their Influence (Cleveland, OH, 1990), 149 — 153 Marin's Maine seascapes have also more recently come to be understood, as they had been at the time of Marin's death, in the context of the works of the abstract expresInfluence (Cleveland, OH, 1990), 149 — 153 Marin's Maine seascapes have also more recently come to be understood, as they had been at the time of Marin's death, in the context of the works of the abstract expressionists.

Stella's abstract paintings of that period were an important influence on Andre's developing aesthetic.

The Dutch painter Piet Mondrian (1872 - 1944) created a geometrical abstract style known as neoplasticism, which had widespread influence on modern painting, architecture, and design.

Mondrian's work had an enormous influence on 20th century art, influencing not only the course of abstract painting and numerous major styles and art movements (such as Color Field painting, Abstract Expressionism and Minimalism), but also fields outside the domain of painting, such as design, architecture and fashion.

More than 130 paintings and drawings, beginning with the artist's earlier abstract works and moving through his subsequent figurative phase, display his profound influence on postwar American art.

Kalley Fosso's work focuses on her process of creating abstract compositions; she is highly influenced by nature - both its physical traits and its historical aspects - and materiality - including acrylic paint, watercolor, charcoal, charcoal powder, oil based pastel, chalk pastel, graphite, spray paint, and so on.

It is this intensity of creative faith, combined with an eye for radiant colour and a fearless determination to take influences from a disparate range of sources (he based a series of paintings on the work of Russian composer Shostakovich), which takes his best work beyond retrogressive abstract expressionism.

From the colourful abstract paintings of the late Howard Hodgkin to a group show exploring Surrealism's influence on female artists, here are some of the exhibitions not to miss this July.

Its continued influence on current abstract painting can be seen in the work of the best practitioners such as Albert Oehlen, Yayoi Kusama and Frank Stella.

In the 1940s she moved to New York and studied with Hans Hoffmann; she influenced fellow Hoffmann students (Jane Freilicher, Larry Rivers, Robert de Niro, Sr., and others) to revive representational painting from a perspective informed by Hoffmann's theories on abstract art.