Sentences with phrase «number of abstract artists»

The artists we display have been carefully selected from a large number of abstract artists.

Lyrical abstraction, a term connected to a number of abstract artists working between 1945 - 1960s, was used to describe the work of Meyer along with others painting all - over compositions (with no singular focal point) that exhibited a nearly patterned organization with vibrational movement.

Not exact matches

An abstract artist, he showed with a number of prestigious galleries in the 1980s, but, to his credit, never jumped on the Neo-Expressionist or Neo-Geo bandwagon.

The exhibition will present a number of large, heavily textured and abstract paintings, forming a contextual backdrop to the ceramic and bronze works which have played a crucial role in the artist's practice since the mid-1990s.

During the thirties in ever increasing numbers due to Hitler's rise in power and his hostility towards modernism in art, European avant - gardists such as Piet Mondrian, Fernand Leger and Lazio Moholy - Nagy landed on these shores and supported and joined this courageous group of abstract artists.

In practice, the term abstract expressionism is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist.

Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never - before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted, figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.

The term «New York School», initially coined to describe a number of abstract painters and sculptors, widened to include younger artists and writers.

Number three in the series is currently hanging in Victoria Miro's Mayfair gallery, as part of a deep dive into the women artists in contemporary abstract painting who art history has ignored — in the form of an exhibition titled Surface Work.

The Clark is making good use of its new Tadao Ando - designed gallery to celebrate some of those artists, with an exhibition of abstract modernist paintings by the likes of Jackson Pollock (whose Number 1, 1950 (Lavender Mist) is a highlight), Mark Rothko and Helen Frankenthaler.

In 1965 Tuttle held his first solo exhibition at Betty Parsons Gallery, New York — at the time considered the most significant gallery for producing great numbers of famous abstract - expressionist artists.

She is a member of Abstract Edge, an established group of abstract artists a number of who have exhibited at the GreenStage.

The project began with a select number of artists who were asked to recommend artists they felt were making strong abstract work, who were then asked to make their own recommendations.

Its significance was immediately grasped by a number of artists who were searching for alternatives to abstract expressionism's (and especially de Kooning's) more physical approach to paint.

Halasz writes: «this show has a number of paintings that yank the artist out of his stately cubo - surrealist orbit of the 40s and situate him far more certainly in the tempestuous ensuing decade... they situate their creator far more persuasively in the turbulent 50s and justify his claim to be called an outstanding member — if not of the first, certainly of the second abstract expressionist generation.»

Number Nine is an original, one - of - a-kind abstract painting signed by artist Pol Ledent.

Number three in the series is currently hanging in Victoria Miro's Wharf Road gallery, as part of a deep dive into the women artists in contemporary abstract painting who art history has ignored — in the form of an exhibition titled Surface Work.

Although the number of abstract painters increased substantially from the late 1900s onwards - in the form of Cubists, Suprematists, the De Stijl movement, Abstract Expressionism and the Minimalists - figurative artists continued to develop new techniques and methods.

O'Connor studied with a number of different artists including the notable abstract expressionist, Bill Gambini, (who was part of the NY City art scene of the 1950's along with Rothko, Pollack and de Kooning).

However, it also included a number of outstanding abstract painters such as the Englishman Winner Howard Hodgkin (b. 1932), as well as the German artists Georg Baselitz (b. 1938), Anselm Kiefer (b. 1945), and others.

What began as casual conversations in those early meetings at Lassaw's home led to a number of concise statements that expressed the enduring philosophy and principals of American abstract artists.

But at the same time it was all of those experiments that compelled a number of artists like Elizabeth Murray, Joan Snyder, Harriet Korman, and Guy Goodwin to go back to making abstract work in a fairly traditional format.

This exhibition brings together a number of the most compelling abstract artists currently working with painting as a language by which to explore the contemporary relevance of materials and simulated spaces.

The heavy hand of modernization and an evergrowing number of artists distancing from a traditional understanding of sculpture, gave birth to abstract sculpture.

Important precedents for Happenings included Oskar Schlemmer's Bauhaus experiments in abstract theatre, Antonin Artaud's Theatre of Cruelty and the Theatre of the Absurd, and the simultaneous actions coordinated by John Cage at Black Mountain College in 1952, which included the poet Charles Olson, the dancer and choreographer Merce Cunningham, and the artist Robert Rauschenberg, who went on to create a number of Happenings throughout the 1960s.

These were followed during the 1950s by linear, quasi abstract works depicting boxes, still life, goal posts, cables, scaffolding, including a number of paintings with which the artist represented Ireland at the XXX Venice Biennale in 1960, such as the reductive forms of women bearing boxes and bunches of twigs on their heads.

Cubism, Expressionism, Dada and Surrealism were the most important of these movements, and attracted a number of indigenous American artists, including: the New Jersey Cubist / Expressionist John Marin (1870 - 1953); the vigorous modernist Marsden Hartley (1877 - 1943); the expressionist Russian - American Max Weber (1881 - 1961); the New York - born Bauhaus pioneer Lyonel Feininger (1871 - 1956); the unfortunate Patrick Henry Bruce (1881 - 1937), noted for his semi-abstract impastoed pictures; Stanton Macdonald - Wright (1890 - 1973) and Morgan Russell (1883 - 1953), two Americans living in Paris who invented a colourful abstract style known as Synchromism; Arthur Garfield Dove (1880 - 1946) noted for his small scale abstracts, collages and assemblages; the Mondrian and De Stijl - inspired Burgoyne Diller (1906 - 65); the influential American Cubist Stuart Davis (1894 - 1964); the calligraphic abstract painter Mark Tobey (1890 - 1976); the surrealist Man Ray (1890 - 1976); the Russian - American mixed - media artist Louise Nevelson (1899 - 1988); the Indiana metal sculptor David Smith (1906 - 1965); Joseph Cornell (1903 - 72) noted for his installations; the Iowa - raised Grant Wood (1892 - 1942) noted for his masterpiece American Gothic (1930), and the Missouri - born Thomas Hart Benton (1889 - 1975), both of whom were champions of rural and small - town Regionalism - part of the wider realist idiom of American Scene Painting; and Jacob Lawrence (1917 - 2000) the famous African - American artist.

Known as the «pope of modern art», Read became Britain's leading interpreter of abstract paintings and abstract sculpture during the three decades 1930 - 1960, championing a number of modern artists like the painter Paul Nash (1889 - 1946) and the leaders of modern British sculpture like Jacob Epstein (1880 — 1959), Henry Moore (1898 - 1986), Ben Nicholson (1894 - 1982), Barbara Hepworth (1903 - 1975) and Anthony Caro (1924 - 2013).

In 1936, a number of New York abstract painters and sculptors formed a group known as American Abstract Artists, to exhibit and promote their work, especially to American institutions like the Museum of Modern Art (MoMA) which tended to favour European works.

One of the problems is that when works like Heilmanns receive praise for their wit and ingenuity, it downgrades the expectations and ambitions of other abstract artists; so that now, any number of painters think that slapping a few lines and shapes around on a canvas, in a manner that vaguely represents something or other — place, memory, feeling, whatever — constitutes an abstract painting, in which it is the very ambiguity of the work which constituting the «abstract» bit.