Sentences with phrase «interesting figure painter»

A survey of works by the South - African born artist gives reason to why she is perhaps the world's most interesting figure painter FT

Marlene Dumas (b1953) has been called «the world's most interesting figure painter».

Not exact matches

Painters LOIS MAILOU JONES and JOHN BIGGERS and sculptor and printmaker ELIZABETH CATLETT all aligned themselves with the younger generation of black artists, creating works that underscored their shared interest in African design sensibilities, the black figure, and the continuing struggle for civil rights.

Jones» interest in American high modernist abstraction — an interest he shares with the older British abstract painters John Hoyland and William Tillyer — is part of a significant shift away from the figure in recent English art, a development that remains largely unknown in America.

Yael Davids» assembly of materials that is activated during this daily performance, departs from her interest in the Expressionist painter Cornelia Gurlitt, among other marginalized female figures.

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.

But although his concerns were part of a larger dialogue in painting that was going on in France at that time, he was something of a unique figure unto himself, similar to Robert Ryman here, a painter with concerns rather too idiosyncratic to really provide a direction, more simply marking a point where a number of problems cluster and are addressed in an interesting way.

His 1953 show at the Sidney Janis Gallery has often been claimed as the impetus for a revived interest in the figure, but a lot of those claims were associated with works by «Figurative Expressionist» or «Gesture Realist» painters like Larry Rivers, Elaine de Kooning, Grace Hartigan, George McNeal, Lester Johnson, even Jan Müller and Bob Thompson.