Sentences with phrase «organic abstraction in»

Scandinavia was another home of organic abstraction in the 1940s and 1950s.

For more about this kind of organic abstraction in Britain, see also: Modern British Sculpture 1930 - 70.

In Britain, in the early 1930s, Henry Moore combined humanoid forms, African and Oceanic cultures, and organic abstraction in a varied, eclectic style that reconciled modernist methodology with Greek sculpture.

Inspired by natural forms, biomorphic / organic abstraction in sculpture is exemplified in works such as: Human Concentration (1934, Musee National d'Art Moderne, Paris) and Demeter (1961, The Israel Museum, Jerusalem), both by Jean Arp (1887 - 1966); Mother and Child (1934, Tate Collection, London) by Barbara Hepworth (1903 - 1975); Abstraction (1940, Georgia O'Keeffe Museum, Santa Fe) by Georgia O'Keeffe (1887 - 1986); Crouching Woman (The Farewell)(1940 - 1) by Henri Laurens; and Two Forms (1966, Soraya marble, Staehein Private Collection, Zurich) by Henry Moore (1898 - 1986).

From Barbara Hepworth's organic abstractions in Kendal to JD Ferguson's post-war bohemianism in Chichester, find out what's happening in art around the country

From Barbara Hepworth's organic abstractions in Kendal to JD Ferguson's post-war bohemianism in Chichester, Skye Sherwin and Robert Clark find out what's happening in art around the country

Not exact matches

They also move easily between abstraction and representation, as with Calame's organic structures, but also in representing brushwork with or without a brush.

His work embodies classical ideals and traditions in a unique style of abstraction that combines both industrial and organic elements.

``... Werfel's new abstractions may have abandoned the window on the world for subjectivity and improvisation, but a feeling of landscape lingers in her «organic» palette and the forms evoked by her linear accents.»

However, some themes have been consistent in her work including a fascination with the beauty and abjectness of the body; the marriage of kitsch and decoration to an ambiguous organic abstraction; and a very personal and idiosyncratic approach to feminism and formalism.

Using an elastic visual language to describe the natural world, Gregory Amenoff's landscapes are organic, Romantic, and fluid, reminiscent of early 20th century experiments in abstraction, expressionism, and mysticism.

My abstract painting comes from reality, from the organic abstraction that lives in each and every one of us.

In this new series of works, he plays with absence and presence, abstraction and figuration, creating silhouette - like shapes that feel organic.

The result is an exhibition where variety in scale, medium, and degree of abstraction is balanced by the strong continuity among all the works — a reliance on automatism, a juxtaposition of unexpected elements and conflicting temporalities, and the presence of organic forms — bringing to light the profound impact surrealism had on pre - and post-war American artists.

The second space is devoted to the smaller, more organic abstractions that Hammersley made starting in the mid-1980s.

Referencing interests in myth, morphology and the mysteries of aquatic states, she has developed a distinctive language of abstraction in which organic forms are imbued with a remarkable quality of luminosity.

They all exist in a space neither fully organic nor inorganic, like abstraction finding its way between the human image and material object.

The exhibition brings together more than 100 works created by more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the «20s to the «50s, rebalancing the traditional views about Surrealist sculpture by placing equal emphasis on organic abstraction which originated in the whimsical reliefs of Jean Arp, and the of found - object assemblage, which originated in the Assisted Readymades of Marcel Duchamp and became a surrealist passion.

Grouped chronologically and ranging in size from delicate 3 - inch squares to more formally resolved 21 - inch forms, the show traces Youngerman's evolution toward his own style of organic, geometric abstraction.

They came up as artists, like most of the artists of the New York School — like Jackson Pollock, Rothko and de Kooning, looking at Primitivism, looking at organic abstraction, exploring Surrealism in the 1940's and defining their personal language of abstraction.

For more than fifty years, Seliger has passionately pursued his inner - world of organic abstraction developing and refining his meticulous and obsessive interpretation of nature in small scale works.

We can't help but agree with critics who compare him to Benglis, Tuttle, and Rauschenberg and describe his work as a «rare brand of abstraction that feels convincingly organic: neither secretly symbolic nor aspiringly decorative; capable of drawing true poetic meaning from the conscientious arrangement of things in themselves.»

These artworks drew upon the organic shapes of plants and animals, rejecting the rigid structures of geometric abstraction in favor of something much more free - flowing.

By appropriating the Surrealist technique of automatism, artists such as Peter Busa, Arthur Dove, Gerome Kamrowski, and Boris Margo found their voices in what Theodoros Stamos called, «abstract surrealism,» now known as organic abstraction.

The «Water» pictures include large - format color images that often read like artful abstractions at first glance: the dried - up Colorado River Delta in Baja, Mexico, with its lunar - like silvery gray surfaces; a great swirl of water at China's Xiaolangdi Dam on the Yellow River that brings the British painter J.M.W. Turner to mind; and an aerial picture of dry - farming land in Aragon, Spain, whose jutting organic forms suggest the shapes of Picasso or Jean Dubuffet.

Today, the abstract works of Mark Rothko and Pablo Picasso sell for tens of millions, while famous examples of geometric and organic abstraction can be seen in museums of modern art across the world.

Taking its title from the words scrawled in a painting by Alicia Gibson, the exhibition brought on rich, organic possibilities in contemporary abstraction.

There's also a solid helping of funkier, more - organic - looking abstraction here — a veiny network of yellow and black lines by Daniel Reynolds, a brushy green canvas by Gregory Montreuil, a spooky painting in pesto green and light purple by Gail Fitzgerald that looks like some ghostly undersea creature (and suggests a miniature, low - key Sigmar Polke) and, probably my favorite work here, a square with a few barely there marks, whiffs of different colors by Roberta Allen.

Considered the founder of Lyrical Abstraction — a movement distinct from geometric abstraction in the organic style of its forms — and the organizer of the «Abstraction Lyrique» exhibition held in Paris in 1947, Georges Mathieu is best known for his large - scale paintings featuring curving calligraAbstraction — a movement distinct from geometric abstraction in the organic style of its forms — and the organizer of the «Abstraction Lyrique» exhibition held in Paris in 1947, Georges Mathieu is best known for his large - scale paintings featuring curving calligraabstraction in the organic style of its forms — and the organizer of the «Abstraction Lyrique» exhibition held in Paris in 1947, Georges Mathieu is best known for his large - scale paintings featuring curving calligraAbstraction Lyrique» exhibition held in Paris in 1947, Georges Mathieu is best known for his large - scale paintings featuring curving calligraphic lines.

Adams is also a doctor, working as a part - time dermatologist, and in his art he plays with shiny, gnarly, and matte metallic finishes to evolve the skin surface of his organic abstractions.

His is that rare brand of abstraction that feels convincingly organic: neither secretly symbolic nor aspiringly decorative; capable of drawing true poetic meaning from the conscientious arrangement of things in themselves — paint, wood, ceramic, cement; circles, squares, lines and curves.

In the decades that followed, Loving explored new directions, creating more organic abstractions from torn and sewn pieces of canvas, trading in a restrained formalism for an unbounded, exuberant aesthetiIn the decades that followed, Loving explored new directions, creating more organic abstractions from torn and sewn pieces of canvas, trading in a restrained formalism for an unbounded, exuberant aesthetiin a restrained formalism for an unbounded, exuberant aesthetic.

His paintings move between abstraction and representation, presenting simple organic shapes in graphic and often chromatically vivid compositions.

A long - term interest in abstraction and organic form is evident in her paintings and prints.

«Behjat Sadr: Trace through the Black» explores the artistic and intellectual heritage of the Iranian artist Behjat Sadr, with archival material, and presenting a rare selection of works: from her early debate with «abstraction informelle» in the 50s to her experimentations around organic forms, trace making, and hallucinatory networks of lines throughout the «60s and «70s up until her «collage» years throughout the (inner) exile and the irrepressible return to her world of futuristic nostalgia.

Equally, she is interested in the formal aspects of her process through which she negotiates the relationships between abstraction and representation, the organic and the structured, the personal and the collective.

Transforming the organic world in geometric planes, Hannah Perry Saucier paints abstractions that elaborate how she organizes her world.

In these latest works, the artist's practice goes beyond representational content to explore organic abstraction.

But we were so involved in abstraction and this silly idea of organic unity that that was an obsession.

The notion of «organic life» characterised the formal modifications associated with modernism, while the «imaginative» went beyond this to suggest the potential accommodation of abstraction which Hepworth acknowledged in her statement in The Studio two years later.

As with her oil paintings, Frecon's works on paper continue her investigation of a highly allusive, geometric and yet still organic abstraction; mostly small in scale, they are remarkable for their quiet presence and power.

While the tendency towards organic abstraction was particularly visible in the 1940s and 1950s, it has continued to be one of many strains apparent in art and design since, in the work of sculptors as varied as Linda Benglis (b. 1941), Richard Deacon (b. 1949), Eva Hesse (1936 - 70), Anish Kapoor (b. 1954), Ursula von Rydingsward (b. 1942) and Bill Woodrow (b. 1948), and designers Ron Arad (b. 1951), Verner Panton (1926 - 98) and Oscar Tusquets (b. 1941).

The works in Greenbaum's series of screenprints «Outtakes,» one of the artist's first forays into printmaking, are closely related to her painting practice, as they also showcase her organic and inventive abstractions.

Working in an Abstract Expressionist style, he pieces together organic shapes in his abstractions and teases images from splatters of paint in his floral paintings.

In comparing Catlett's art modernist organic abstraction (particularly Brancusi's sculpture), Michael Brenson concluded the following:

With shades of Joan Mitchell, Cecily Brown, Claude Monet, and a sort of raw deconstruction of Henri Rousseau, Weber's special gift is for evoking and recreating the organic tumult of fecund places in the most convincing manner despite her aesthetic of near - abstraction, animated in her paintings with the chaotic spirit of actionist expressionism.

Despite the geometric abstraction of his forms, Chillida's sculptures are rooted in the organic and elemental.

His «camera-less» photograms were made in the darkroom by arranging and exposing objects directly on top of light - sensitive paper; juxtaposing geometric, industrial, typographic and organic forms to create images that are poised between abstraction and representation.

Gorky began (c. 1940) to create abstractions consisting of involved, voluptuously organic shapes and glowing colors, all enveloped in an aura of mystery.

Jean Arp (1886 - 1966) Founder member of Abstraction - Creation, known for organic forms in bronze or marble.