Sentences with phrase «influences of abstract artists»

Hoskote, in the book, notes the influences of abstract artists like Frantisek Kupka, or Alberto Burri, the Italian creator of post-Second World War Arte Informale, Shahane sees in his practice Arte Povera or «poor art» of the 1960s.

Under the influence of these abstract artists, and after a visit to Piet Mondrian's studio, Calder began to make kinetic works which were christened «mobiles» by Duchamp.

Not exact matches

Painted in 1939, just before the outbreak of World War II, it then represented a new line for Picasso, whose abstract techniques have done more to influence 20th century painting than that of any other artist.

This one, The Johnson, showcases the work of celebrated Sydney abstract artist Michael Johnson, who is strongly influenced by nature.

The artist's influences are not easily identifiable; in her work one might sense the organic symmetry of Ukrainian or Mexican folk art, the vibrating illusions of»60s Op art or Islamic textiles, the expressively abstracted mathematics of Agnes Martin, the macro focus and whimsy of Hilma af Klint, or the playfully curved shapes and lively palettes of Henri Matisse or Yayoi Kusama.

During the early 1950s, Richard Diebenkorn was known as an abstract expressionist, and his gestural abstractions were close to the New York School in sensibility but firmly based in the San Francisco abstract expressionist sensibility; a place where Clyfford Still has a considerable influence on younger artists by virtue of his teaching at the San Francisco Art Institute.

Discover more about the abstract artist's style of painting and the influences behind her ground - breaking work

Curator Gary Garrels worked with six abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — to select one of their own recent paintings as well as works by other artists who have influenced their thinking.

After joining the French artists group Abstraction - Création, Calder began to perfect his trademark mobile sculptures, influenced by the abstract, non-traditional styles of fellow artists like Marcel Duchamp and Joan Miró.

England & Co have loaned a 1938 painting by Paule Vézelay from a private collection to Surface Work at the Victoria Miro Gallery: an international, cross-generational exhibition of women artists who have shaped and transformed, and continue to influence and expand, the language of abstract painting.

A dynamic, geometric clarity was certainly the aesthetic goal of many abstract artists, but there were others who worked under the influence of Surrealism and Expressionism, not to mention the natural landscape that so inspired the first generation of American abstract artists.

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.

It seems to me the list of influences on these artists needs to include the likes of Kant (abstract schema) in the search for the «concrete,» whose forms occur in nature (biology) but also in art (disclosed reality).

The large scale of the Nymphéas (two meters wide and one meter high), its expressive and very present brushstrokes and very abstract rendering of all its natural elements would have a lasting influence on the future generations of artists.

In this video interview with Stuart Krimko, Director of David Kordansky Gallery, Los Angeles, we learn about Gilliam's unique brush-less technique, his innovations in treating the canvas as the principal material and his influence on a young generation of artists (abstract and not).

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.

This group of artists, which included Emil Bisttram, Florence Miller Pierce, and Stuart Walker, shared an interest in the principles of Theosophy advanced by Madame Blavatsky, and they also drew inspiration from Zen Buddhism, which would gain influence among American abstract artists in the decades to follow.

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» Expert.

Brooklyn artist Andisheh Avini's abstract works are influenced by a fascinating range of references, from art history and Andy Warhol to traditional Persian pattern and craft.

Beginnings clearly shows the artist's assimilation of surrealist influence, taking Cornell's boxes in a new, abstract / constructivist, direction.

In «Unfamiliar Again: Contemporary Women Abstractionists,» the Newcomb Art Museum of Tulane University presents seven female artists who have updated the state of the abstract in the American consciousness, accounting for technology's influence on the psyche.

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.

With his roots in printmaking and Surrealism, British artist Stanley William Hayter's (1901 — 1988) theoretical writings on automatism and the expressive abstraction of his own work were a formative influence on Pollock and other abstract expressionists via his printmaking studio, Atelier 17, where Hayter taught Pollock and other well known artists including Pablo Picasso, Joan Miro, Max Ernst, Alexander Calder, Marc Chagall, Jacques Lipchitz and Alberto Giacometti.

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.

Regional artists manuel arturo abreu and Christopher Paul Jordan explore the abstracted visual and emotional cues that influence how a sense of «place» is communicated through signifiers of the cultural, economic, and racial influences within inherited identity.

A pioneer of infusing abstract painting with influences from popular culture and craft traditions, Mary Heilmann (b. 1940) is one of the most important yet least recognized artists in the United States today.

With his focus on simplified forms and use of colour as a primary means of expression, in the 1930s he profoundly influenced and won the devotion of fellow artists including future abstract expressionists Mark Rothko, Adolph Gottlieb and Barnett Newman.

Influenced by both Urban Art and Abstract Contemporary, we present works from a group of artists who merge the way between these styles focusing the energy and rawness of classical graffiti with abstract expressionism.

Ferren was active in the European avant - garde circles, and produced paintings influenced by the abstract geometry of artists such as Piet Mondrian, Wassily Kandinsky, and Robert Delaunay.

Greatly influenced by the influx of European surrealist artists who emmigrated to the United States after World War II, Bourgeois's early sculpture was composed of groupings of abstract and organic shapes, often carved from wood.

Thus is, of course, an old modernist recipe, used to great effect by abstract artists such as Paul Klee, Antoni Tàpies and Cy Twombly (on whose influence Rosa is outspoken).

Therefore, the prevalent view is to understand the worlds of Asian artists with Oriental lyricism, though different in technique, as a branch that absorbed the influence of abstract expressionism.

These artists (like Eric Fischl, David Salle, Elizabeth Murray, Kenny Scharf, Julian Schnabel) ignored critic Clement Greenberg and his prescriptive view of Modernism that had influenced the previous generation of artists, and instead crafted works that combined figurative subjects, abstract landscapes, and intuitive mark - making into volatile works of art.

This refusal to cohere to conventional notions of abstract painting reflects the breadth of Cain's influences — including abstract expressionism, photography, the artist Ana Mendieta, and ceramics — and her desire to dismantle the male - dominated history and traditions of 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.

Leiter, who was also a painter, incorporates abstract elements into these photographs and often shows the influence of his favorite artists, including Bonnard, Vuillard, and Matisse.

In this substantial volume, the works of the infamous mid-century French visionary artist, Yves Klein — famed for having been photographed jumping off a wall, «into the void,» with his arms outstretched as he moved rapidly towards the pavement, as well as for having claimed and patented his very own shade of the color blue — are presented alongside paintings by the artist whose work influenced him most profoundly: his mother, the bold abstract painter Marie Raymond (1908 - 1972).

Regarding Creed's paint choice, the critic Michael Archer has linked the artist's approach to that of an acknowledged influence, the abstract painter Frank Stella (born 1936) who once said that in each of his canvases he was trying to «keep the paint as good as it was in the can» (cited in Ikon Gallery 2008, p. 36).

The definitive monograph, created in close collaboration with the artist, a pioneer of abstract art, who influenced subsequent generations of artists such as Tauba Auerbach, Matt Connors and Alex Israel.

Bad Influence presents works by Gretchen Bender, Ashley Bickerton, Wim Delvoye and Jonathan Lasker symptomatic of a certain 80s generation of artists who simulated and abstracted the visual language of consumerism to rupture traditional media circuitry.

The Syrian artist's colorful paintings and drawings highlight arabesque concepts and are deeply influenced by the abstract school of Arab art.

Combined with his interest in American abstract painting this research lead him in the 70s to make a series of particularly ambitious paintings, not only by their unusual format in France at the time (two by three meters, two by six meters), but also by the almost total withdrawal of the gesture of the artist, an indirect inscription of the pictorial surface, a minimalistic and radical process that influenced, among others, Martin Barré.

As the influence of abstract expressionism waned in the 1960s, artists came to question the very philosophy underlying modernism.

His technical achievements became a paradigm for British art for the whole of the eighteenth century, and his later works in particular influenced the near abstract compositions of the next generation of British artists.

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.

Twenty years after appearing as one of the first of the National Gallery's Artist's Eye series of modern artists and their influences among the Gallery's pictures, this ever - evolving mistress of abstract form returns with a similar display of influences and new pictures, including two large works painted directly onto the Gallery's walls.

A famous group of abstract color theory artists were influenced by the Light and Space Movement, notably: Frederick Spratt, Phil Sims, Anne Appleby, and David Simpson.

[7][8] A famous group of abstract color theory artists were influenced by the Light and Space Movement, notably: Frederick Spratt, [9] Phil Sims, Anne Appleby, and David Simpson.

Owing to his studies in the West, Chun was deeply influenced by American and European abstract expressionism, the early stages of his career saw the artist working with paintings until his shift to Korean mulberry paper in 1995.

Miró's work hugely inspired the artists who would become the Abstract Expressionists, thus influencing generations of American abstract painting.