Sentences with phrase «of abstract expressionist painting into»

Rothko looked like one of the survivors, and was even insidiously caricatured as a careerist, a bit of a fraud, who had turned the rigour and extremism of abstract expressionist painting into something luscious, colourful, decorative and profitable - until that morning in 1970.

Not exact matches

Influenced by an unusual combination of abstract expressionist painting and classical music, he fuses the two mediums together into a unique body of artwork.

This period coincided with the blossoming of the abstract expressionist movement and the pinnacle of Still's 20 - year quest to redefine painting in which «space and figure,» the artist wrote, «had been resolved into a total psychic entity.»

Schnabel used abstract expressionism as one point of departure for his own work and almost singlehandedly brought expressionist painting back into the fore earlier in his career.

With the artist's subtle use of different shades of paint, as well as his careful attention to the variegated surface of the canvas, the painting stands as a successful intervention into the terrain of abstract expressionist painting.

Louis began his first series of Veil paintings in 1954 before moving into a somewhat less successful period of increasingly gestural abstract expressionist paintings over the next few years.

The productive tensions between an abstract expressionist engagement with surface, paint, and gesture and a more decisive shift into the ambiguous terrain between painting, collage, and assemblage find their fullest expression in Untitled [black painting with portal form], specifically in the way the composition is structured around (and then decisively proceeds from) a tonal, monochromatic center: a flat, inky, double - truck sheet of newspaper.

A third - generation abstract expressionist, Meyer creates painterly ribbons and tangles of brushstrokes that amass into loosely grid - based structures, often under - painted with warm pastel washes.

While the two schools of abstract expressionist painting shared certain characteristics ---- large scale; bold, gestural brushwork; emphasis on the materiality of paint; figure and ground equal or collapsed into overall, non-hierarchical compositions ---- Bay area artists, influenced by Asian cultures and the expansiveness of the western landscape, in addition to European painting, invited landscape references into their work whereas New York painters resisted such associations.

«The painting leaves the studio as a purist, abstract, non-objective object of art, returns as a record of everyday (surrealist, expressionist) experience («chance» spots, defacements, hand - markings, accident - «happenings,» scratches), and is repainted, restored into a new painting painted in the same old way (negating the negation of art), again and again, over and over again, until it is just «right» again» (Ad Reinhardt, in: Americans 1963, Museum of Modern Art, NY, 1963).

By the 1950s this multiform style had evolved into his signature style of abstract expressionist painting, known as «Colour Field Paintingpainting, known as «Colour Field PaintingPainting».

«Drawing Into Painting» is a survey of abstract expressionist Joan Mitchell's works on canvas and paper from 1958 through 1992, the year of the artist's death.

It was written that her «expressionistic figure paintings soon evolved into tempestuous abstract expressionist works which brought her national acclaim as one of the most promising artists of her generation.»

For Kaprow, the Happening was an inevitable extension of his own vigorous and theatrical abstract painting — inspired by the reigning Abstract Expressionists (notably Jackson Pollock)-- first into the space of the audience as environment and then into live performance.

Paintings from the 1950s include such works as Stephen Pace's Untitled (51 - 90), a dynamic abstract painting in which forms move into and through the picture plane in the mode of the art of Pace's teacher Hans Hofmann, Melville Price's Untitled (ca. 1959), a gestural painting in the abstract expressionist idiom in which figurative elements have a suggestive presence, and George Segal's Three Nudes (1959), in which a psychological tension is conveyed in the expressively treated figures that are integrated into spaces defined by veils or blankets of color.

Testing the strictures of Minimalism, Marden's art has reintroduced both the landscape and the figure into abstract painting while affirming his sense of connection with the Abstract Expressionist movement that preceded him.