Sentences with phrase «of abstract expressionism of»

But already then the David Park, or just about that time, and company were, in fact, they already had emerged out of, and Diebenkorn, of course, out of the abstract expressionism of Still, Rothko for that matter, but especially Clyfford Still at the San Francisco, California School of Fine Arts, now Art Institute.

They were interested in breaking away from the prevailing aesthetic of abstract expressionism of the time and, in 1953, found the means to do so.

While her work shows the influence of the abstract expressionism of her youth, she ultimately tired of pure abstraction and turned to creating intensely personal representational paintings of Long Island landscapes, New York City scenes, interiors, and still lifes.

Early on, Frank Stella's visual vocabulary was heavily shaped by the influences of the abstract expressionism of Jackson Pollock and Franz Kline [3].

Not exact matches

Paul Liebrandt approaches cuisine as an art form, and has made a name for himself with his bold combinations of ingredients (one of his more outré creations features eel, violets and chocolate) and presentation which resembles abstract expressionism more than the way your mother put food on a plate.

In 1953 Blackman was co — founder of the Melbourne Contemporary Art Society and he was also one of seven artists responsible for the Antipodean Manifesto; these artists protested the dominance and rejected the rise of abstract expressionism and non — figurative art.

If you are a fan of any form of abstract expressionism, and particularly of Tàpies, a visit to the Fundació Antoni Tàpies promises to provide you with hours of complete fulfillment!

Einspruch also notes that the murals «were worked up from sketches in gouache on colored paper [that] reveal a kind of premeditation that we don't always associate with the giants of abstract expressionism.»

The albums of art history will forever remark on her sublime assimilation of the School of Paris and the New York School of abstract expressionism.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

By linking the Minimalist sculptures of artists like Donald Judd to the Russian supremacist paintings of Kasimir Malevich and readymades of Duchamp, she extends the determinist history that formalism relies on into sculpture and movements beyond abstract expressionism.

At a preview of the New Museum's George Condo retrospective, George Condo: Mental States, I was struck by the painter's relentless engagement with all sorts of art historical genres, from Baroque portraiture to abstract expressionism and back again, all cast into Condo's weird world of bug - eyed monsters, fractured faces and elongated features.

Just less than half of the 37 artists in the show are abstract expressionism's A-listers (white, male and of European heritage), most of whom lived and worked in New York.

Soon after World War II, the center of the avant - garde shifted from Europe to the United States when the first American - grown modern art movement — abstract expressionism — was born.

Greenbaum is among a generation of women painters — Carrie Moyer and Amy Sillman are others — reclaiming abstract expressionism.

Rivers practiced a hybrid version of representational abstract expressionism.

The gallery continues, «In his essay for the exhibition catalogue, William Agee describes Hofmann as going against the grain of the artistic canon of the day; «His art was too big, too bold, to be encapsulated in a few years after 1945, the years we generally identify as the heyday of abstract expressionism.»

Through his ties to the Willard Gallery, his work was often viewed alongside and studied in the context of abstract expressionism.

Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, Hard - edge painting, Geometric abstraction, Minimalism, and Color Field.

Although these masters of abstract expressionism seem ubiquitous, they are not often shown in Hawaii in full force.

In 1968, Guston drastically changed his artistic style from a lyrical form of abstract expressionism to a kind of cartoony figuration.

«Robert Motherwell: The East Hampton Years, 1944 - 1952» will reveal the explorations of Motherwell as he transitioned from surrealism and automatism to abstract expressionism, according to the museum, and reveal works that are lesser known.

13 Women Who Broke All The Rules An overview of the early days of abstract expressionism until today A curated selection of 13 women artists featuring Mary Abbott, Mary Corse, Dorothy Dehner, Elaine de Kooning, Natalie Edgar, Helen Frankenthaler, Lee Krasner, Mercedes Matter, Pat Lipsky, Louise Nevelson, Charlotte Park and Michael West

They provide a comprehensive but not overwhelming introduction to the exhibition's theme of abstract expressionism as an amalgam of east and west; here, each work carries weight and can be attended to.

Barnett Newman is considered one of the major figures in abstract expressionism and one of the foremost of the color field painters.

Her pictures reacted to the ropey, anxious canvases of abstract expressionism.

In advance of his representation of the United States at the Venice Biennale, Mark Bradford is collaborating with two institutions in Denver, Colo., presenting exhibitions that pair his work with that of Clyfford Still (1904 - 1980), a 20th century master of abstract expressionism.

In the sixties and early seventies it became an abstract expressionism which then evolved into an abstraction more inferential of nature.

Held in high regard in his home country of France, and throughout much of continental Europe, the work of Pierre Soulages has never really achieved the same stature in the United States, despite his formal ties to the particularly American strains abstract expressionism and minimalism that have populated his work over the past sixty years.

One of the code readings of abstract expressionism was ambiguity.

He was a member of the American Abstract Artists and was a part of the movement centered on the Betty Parsons Gallery that became known as abstract expressionism.

In 1959, a year out of Princeton, he was included in Sixteen Americans — a landmark show at New York's Museum of Modern Art that pulled the plug once and for all on abstract expressionism and set the stage for the multifarious art of the 1960s.

There, she met Franz Kline and Willem De Kooning, who initiated her to variations of abstract expressionism and participated in the effervescence of New York artistic life.

Neel's dedication to the «unfashionable» art of portrait painting and social realism — and this during the decades of abstract expressionism, pop art and minimalism — ensured that her work remained permanently out of kilter with avant - garde artistic developments.

In fact, the dominance of the term «abstract expressionism» over «action painting,» which seemed more applicable to Pollock and Willem de Kooning than any other members of the New York School, is emblematic of the influence of formalist discourse.

The justification for the term, «abstract expressionist,» lies in the fact that most of the painters covered by it took their lead from German, Russian, or Jewish expressionism in breaking away from late Cubist abstract art.

# American abstract expressionism of the 1950s: an illustrated survey with artists» statements, artwork and biographies

Like other young artists trying to define themselves in the wake of abstract expressionism, Martin first experimented with found assemblages of detritus from the lower Manhattan docks.

It initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several series of paintings by Joan Miró.

MoMA's newest exhibit, Abstract Expressionist New York presents a good overview of the NY school of abstract expressionism during its heyday in the 40's and 50's.

Farouk Hosny's gestural, vibrant palette speaks the universal language of formalist abstraction in a cultural response to Western abstract expressionism.

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During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

Steeped in Hofmann's modernist theories, Kahn nonetheless developed a style of landscape painting that owes as much to the impressionists as it does to abstract expressionism.

Being younger than Jackson Pollock, Willem de Kooning, Helen Frankenthaler or Robert Motherwell, Stella was critical of the open - ended nature of late abstract expressionism, describing it as «chaotic, academic, and mannered».

The bindi becomes a language or code we begin to read through works that elicit formal connections with abstract expressionism, op art, and geometric abstraction from Western painting and the tantric and neo-tantric traditions of India.

By showcasing current contemporary painting and sculpture, the exhibition explores both postmodern and modern concepts through the re-evaluation of historical work from varying mediums, styles and content by recalling abstract expressionism and minimalism.

Now that's something that's in abstract expressionism, too, of course.

Inspired by abstract expressionism, the paintings blend intuitive process with child - like discoveries of the COBRA avant - garde group, cleansing the angst and subconscious monsters with his ever - present, smiley - face signature.

Artist Helen Frankenthaler's pictures reacted to the ropey, anxious canvases of abstract expressionism.