Sentences with phrase «later lyrical abstraction»

Greenberg favored, sequentially, Abstract Expressionism, then Color Field painting, and later Lyrical Abstraction.

Not exact matches

While it would be naive to assume that everyone is going to prefer that type of art (late Monet, Friedel Dzubas, William Pettet, John Griefen, Dan Christensen, John Hoyland, Jules Olitski, Joan Snyder, Larry Poons, Ronald Davis, et al) it is not naive to ask that Lyrical Abstraction be accorded its hard earned place in the historical and critical landscape.

Lyrical Abstraction as perceived in the media of the late sixties was largely misunderstood because of several factors.

The survey features 28 paintings spanning five decades — from late - 1960s bold geometric abstractions to recent gold metallic fields with lyrical lines.

My use of the term Lyrical Abstraction is not meant to refer to Larry Aldrich's maligned exhibition at the Whitney Museum, but to the new sensibility and phenomenon of what Aldrich actually observed in the artist studios that he visited in the late sixties.

During the later phases of Color Field painting; as reflections of the zeitgeist of the late 1960s (in which everything began to hang loose) and the angst of the age (with all of the uncertainties of the time) merged with the gestalt of Post-Painterly Abstraction, producing Lyrical Abstraction which combined precision of the Color Field idiom with the malerische of the Abstract Expressionists.

Cheat River Landscape, addresses another issue which is at the central core of Lyrical Abstraction, and that issue was that advanced painting pay attention and express what was going on in the culture of the late sixties.

Abstract Expressionism preceded Color Field painting, Lyrical Abstraction, Fluxus, Pop Art, Minimalism, Postminimalism, and the other movements of the 1960s and 1970s and it influenced the later movements that evolved.

Finally, in the late 1960s (partially as a response to minimal art, and the dogmatic interpretations by some to Greenbergian and Juddian formalism), many painters re-introduced painterly options into their works and the Whitney Museum and several other museums and institutions at the time formally named and identified the movement and uncompromising return to painterly abstraction as «lyrical abstraction».

James Brooks» paintings were particularly poetic and highly prescient in relationship to Lyrical Abstraction that became prominent in the late 1960s and the 1970s.

By the late 1960s however, postminimalism, process art and Arte Povera [121] also emerged as revolutionary concepts and movements that encompassed both painting and sculpture, via lyrical abstraction and the postminimalist movement, and in early conceptual art.

The continuation of abstract expressionism, color field painting, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th - century Modernist movements in both painting and sculpture continued through the first decade of the 21st century and constitute radical new directions in those mediums.

His early paintings, his figurative still - lifes, particularly - not the late, softly fluid, lyrical abstractions that would profoundly influence the course of American art - are often so densely built up, so airtight with paint, that they've more or less had the life choked out of them; in the course of trying to keep them alive, they have in fact become dead things.

During the late forties, when painting was becoming physically big, angst - ridden, and unprecedentedly theoretical in its exploration of new modes of non-representational painting, MacIver kept her canvases compact and continued developing an intimate brand of lyrical abstraction that remained mimetically based.

By the late 1960s however, process art emerged as a revolutionary concept and movement that encompassed painting and sculpture, via lyrical abstraction and the postminimalist movement, and in early Conceptual Art.

Later too, his freely painted and lyrical landscape abstractions of the 1960s and 1970s were to have an enormous influence on painters in the 1980s.

The show also includes his late still - lifes and lyrical abstractions.

By the late 1960s, Postminimalism, Process Art and Arte Povera [38] also emerged as revolutionary concepts and movements encompassing painting and sculpture, via Lyrical Abstraction and the Postminimalist movement, and in early Conceptual Art.

Willem de Kooning is famous for his wild and very «hot» abstract paintings of women and also for his more lyrical late, bright abstractions.

Twenty - eight paintings will be included, starting with his late - 1960s bold geometric abstractions like Harlem Angels (1968) to recent gold metallic fields with lyrical lines like Evidence (2016).

For styles, see: Lyrical Abstraction (1945 - 60, Pierre Soulages, Hans Hartung, Georges Mathieu, Nicolas de Stael, Jean - Paul Riopelle) and Tachisme (late 1940s / 50s, Jean Fautrier, Georges Mathieu, Wols, Jean Dubuffet, Sam Francis).

(Note: several of these artists later moved to non-geometric art forms, such as lyrical or biomorphic / organic abstraction).

Abstract Expressionism preceded Tachisme, Color Field painting, Lyrical Abstraction, Fluxus, Pop Art, Minimalism, Postminimalism, Neo-expressionism, and the other movements of the sixties and seventies and it influenced all those later movements that evolved.

Meanwhile, parallel movements in Western Europe were appearing under various titles, such as Art Informel (c.1945 - 60), along with sub-variants such as Lyrical Abstraction (late 1940s, 1950s), Tachisme (c.1945 - 60) and the COBRA group (1948 - 51).

If Post-painterly abstraction sounds complicated, try reading about concurrent abstract expressionist movements in Europe, such as Art Informel (1940s, 1950s), its sub-variants Tachisme (late 1940s, 1950s) Lyrical Abstraction (1945 - 60), and the independent COBRA group (abstraction sounds complicated, try reading about concurrent abstract expressionist movements in Europe, such as Art Informel (1940s, 1950s), its sub-variants Tachisme (late 1940s, 1950s) Lyrical Abstraction (1945 - 60), and the independent COBRA group (Abstraction (1945 - 60), and the independent COBRA group (1948 - 51).

In the same essay Cornish brings attention to Mali Morris's «materiality and touch», which reminds me of the recent article by David Sweet at Abstract Critical where, questioning the relevance of «the kind of average lyrical abstraction of the late colour field period» and highlighting the importance of detail in the era of high - definition he partially equates touch with detail.