Not exact matches
There is a well - worn narrative of twentieth century painting that goes
like this: From Cezanne to Picasso to Pollock, the
illusionistic space of painting flattened more and more until the picture plane and the surface created by the paint itself became the primary subject matter, eliminating images altogether in favor of abstraction.
In her compositions Jebavy often includes glassware forms that call to mind other Baroque artworks, such as Bernini's expansive Baldachin in St. Peter's Cathedral, or
illusionistic Italian ceiling paintings and cathedrals, building altar -
like architectural
spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendental.
Though Stella,
like Richard Serra, is not shy of scale, the overarching issue here is not the presence of focused materiality but the potential for material to form an open - ended Baroque extension, the consequence being that an
illusionistic painting now exists in real
space.
A series of lithographs,
like Pet Stains, 1990, hark back to Synthetic Cubism: puddles of black paint mark a stack of trompe l'oeil newspapers so as to create a tension between flat representation and
illusionistic space.
«By the 1970s, thanks largely to formalist critics
like Clement Greenberg and Donald Judd, painting had been flattened and emptied of figures, subject matter and
illusionistic space....
Working
like the Roman god, Vulcan, forging calderas and caverns with deep, rock -
like chasms of paint, Berg's
illusionistic space offers no horizon, only an ever - changing, tumultuous world where time and
space are uncertain.