Sentences with phrase «lady painter»

Joan Mitchell: Lady Painter adds to the growing literature of how women American artists struggled to find their place — not as a homogenous group but as vibrant individuals.

Bob Duggan reviews the biography Joan Mitchell: Lady Painter by Patricia Albers.

Last night, artist Tara McPherson's Brooklyn art boutique / gallery, debuted the works of three inspiring lady painters.

It was an L.A. gallerist who first pointed out to me the «badass lady painters» working in Los Angeles.

I'm reading Lady Painter (the Joan Mitchell biography) and I can relate to her color sensitivities and synesthesia, although I don't think I have it necessarily.

As much as you want to ascribe sadness to such injustice, you can't help but come away from Joan Mitchell: Lady Painter smiling at Mitchell's ability to convey her inner life into her art and find pure joy in the colors of the world, even if that world denied her full acceptance.

It's funny that Patricia Albers's recent and authoritative biography on Joan Mitchell was given the subtitle «Lady Painter.»

I read Patricia Albers» Joan Mitchell, Lady Painter: A Life.

«For me, being a «lady painter» was never an issue,» she was quoted as saying in John Gruen's book «The Party's Over Now» (1972).

Mitchell sometimes referred to herself ironically as «lady painter.»

Read an excerpt from the recently released biography «Joan Mitchell, Lady Painter: A Life» by Patricia Albers.

Rather than reconsidering the concept of the lady painter, this exhibition is an apt attempt at removing the distinction altogether; it gives us a moment of reflection and discovery.

Lady Painter: A Life, New York, 2011, p. 285).

Loose allover quilts of limpid blues, greens, pinks, reds, and yellows... fairly burble, their colored lines and shapes registering a painter's fast - moving hands as they rise steeply, floating between inner and outer worlds, to jostle and bank at their tops» (P. Albers, Joan Mitchell: Lady Painter, New York, 2011, pp. 313 - 314).

Executed during the same period as her celebrated Sunflower paintings, together these paintings stand as «audacious, masterful works in which the artist adroitly juggles emptiness and fullness, balance and unbalance, lightness and weight» (P. Albers, Joan Mitchell: Lady Painter, New York, 2011, p. 315) and as act as works which show Mitchell at the height of her artistic prowess.

Of course, none of this came from an interest in being a «lady painter.»

Patricia Albers's new biography of Joan Mitchell, Lady Painter, follows the artist from her privileged, WASPy Chicago upbringing through her tempestuous years on the 10th Street scene to her time spent in France, where she would face a gradual physical and emotional decline but probably achieved her most lasting artistic triumphs.

I am very slowly reading the Joan Mitchell biography, Lady Painter.

(both chuckle) I don't think women in any way were a threat to these men, so they could encourage the «lady painter.»

«As the 1950s waned,» Mitchell's biographer Patricia Albers notes, «Joan's paintings swung between... a dance of reds, greens, yellows, blues, and blacks, indebted to [Jackson] Pollock, on one hand, and, on the other, vigorous, fleshy fists of paint: blue blacks, greens, mustard yellows, and opaque whites» (P. Albers, Joan Mitchell: Lady Painter, New York, 2011, p. 281).

I call myself a «lady painter» and AEOH — Abstract Expressionist Old Hat, you know.

I don't think women in any way were a threat to these men, so they could encourage the «lady painter.»»

In his catalogue essay, Andrew explains how the title, «To be a Lady,» is meant to be taken ironically, deriding how artists like Joan Mitchell were once brushed aside, so to speak, as «lady painters.»

The glacial breakdown of these strictures was accompanied by the rise and establishment of a particular stereotype, that of «the lady painter.»

... From the time she acquired Vétheuil, its colors and lights pervaded her work» (P. Albers, Joan Mitchell: Lady Painter, New York, 2011, p. 313).

Yet we learn in «Joan Mitchell: Lady Painter,» by Mountain View writer Patricia Albers, that this artist had a monstrous side.

Staggering in some details and deficient in others, «Joan Mitchell: Lady Painter» is a huge canvas with lots of messy scenes.

She joked about being a lady painter.

A decade later she said, «For me, being a «lady painter» was never an issue.

Biographer and art historian Patricia Albers is the author of Shadows, Fire, Snow: The Life of Tina Modotti and Joan Mitchell, Lady Painter: A Life.

In the early sixties, after painting an homage to Marie Laurencin in sky blue, grey blue and soft peach, Frankenthaler wrote, «I recently painted a picture in sort of boudoir pastels, the kind of color I usually avoid like the plague and I'm calling it «Warning to Lady Painters.»

Joan Mitchell adopted the sobriquet «Lady Painter» with all the acidity and absurdity she could.

For much of the early 20th century, women were up against the «lady painter» image which historian Linda Nochlin suggests was «established in 19th century etiquette books and reinforced by the literature of the times.»

As recounted in Joan Mitchell: Lady Painter, a new biography by Patricia Albers (to be published by Alfred A. Knopf on May 5), Mitchell (1925 - 1992) was born and brought up in Chicago, where her father was a prominent doctor, and her mother a poet and editor of Poetry magazine.

As revealed in Patricia Albers» Joan Mitchell: Lady Painter, the first full - length biography of the artist, Mitchell had both synesthesia and an eidetic memory.

Walking around her 1988 retrospective at the San Francisco Museum of Modern Art, Mitchell gazed upon her works and said with a smirk, «Not bad for a lady painter.»

I received a sincere e-mail from a lady painter whose work I follow.