Sentences with phrase «painters who»

But this exhibition makes it plain there were other painters who had absorbed what had since happened in France, the likes of Charles R Sheeler and Marsden Hartley, both of whom were indebted to Cézanne, and Morton Livingston Schamberg whose 1912 Study of a Girl might have come straight from Paris.

But we just went through this Zombie Formalism period, and a lot of those abstract painters who churned out tons of canvases to meet frenzied demand have now seen their markets disintegrate, and their reputations sink.

By way of contrast, the New Image exhibition presented ten painters who were young and as yet unrecognized; they were allowed to show a good amount of work, from six to eight paintings.

ModernismUntamed thereby seeks to identify a family of artists whose origins go back to Monticelli — a member, alongside Jean - François Millet, of the pantheon of painters who inspired Vincent van Gogh.

In this excerpt from Phaidon's new Vitamin P3, we examine three abstract painters who are taking up the experimental mantle of their predecessors by proposing novel new inventions for the medium.

With them he promptly takes his place among a group of recent talented young painters who also make witchy figurative work with vivid color and wobbly compositions charged with psychological spirituality.

(2) They were landscape painters who traveled together to paint the magnificent landscape of northern Canada.

Frank Auerbach: «Rembrandt is a miraculous draftsman of life in motion and one of the first painters who really moved me.

Alexi Brown - Schmidt and Rose Marcus are two emerging painters who use palettes of bold and moody color, applied to paper or canvas with exuberant gestures.

Similar to the painters who worked centuries before her, Lipman's work addresses materiality, consumerism, mortality, and temporality.

I wanted to put out a call for any painters who might be interested in writing critical essays, reviews, interviews, or op - ed pieces for Painting Perceptions.

All we had was a group of young experimental painters who sold little and got bad reviews.»

And the painters who were around at the time: Leon Kossof, Frank Auerbach, people like that, I felt a kind of affinity with.

There was an art collective, made up of abstract painters who were also trying to make sense of that situation, which was called Radical Painting.

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

Both were consummate painters who rose above labels and movements, whether it be Ab Ex or Pop.

Very few of the female painters who've won long - term careers have painted in expressionistic or more unleashed ways, deploying high - keyed color or ropy surfaces, or painting in ways that strike people as irrational, out of control, or non-cerebral.

The painters who most matter to him, he has often said, are Piet Mondrian, Henri Matisse, and Mark Rothko.

And they had a different point of view than the other galleries that existed at the time, and they were particularly interested in the Pictures Generation [a loose affiliation of conceptual photographers and painters who emerged in the mid-70s and appropriated media and advertising in their work], which by that time had become almost underground.

Jane Wilson and Jane Freilicher were splendidly endowed painters who were the same age, shared a studio, partied heartily on Flying...

Abstract expressionist painters who fall into the category of «action painting,» like Pollock and de Kooning, were known for being «one with the paint.»

In the main gallery, the group show Surface Tension, curated by Joseph Shaikewitz, featured more works by Taha Heydari alongside other painters who address the screen or a sense of permeability in their work.

But unlike other painters who might pursue this goal through dramatic, even offensive...

This is a good way for painters who -LSB-...]

[15] Painters who directly reacted against the predominating Formalist, Minimalist, and Pop Art and geometric abstraction styles of the 1960s, turned to new, experimental, loose, painterly, expressive, pictorial and abstract painting styles.

This series marks an important point of departure for Warhol, being his first foray into abstraction, and disclosing his intrigue with the Abstract Expressionist painters who had dominated the New York art scene in the 1950s, during his early career.

This type of ambition motivated many of the Abstract Expressionist painters who rose to prominence in mid-century New York, and it motivates many visual artists working in 2016.

He delights in reducing the lofty seriousness of the abstract expressionist painters who dominated New York art at the time to something scabrous, base, dirty and depraved.

The Pop influence is perhaps more obvious in the work of Bechtle, Close, and other painters who have used slide projections — Estes has not — but it's certainly evident in his numerous renderings of restaurants, storefronts, and other commercial settings, which pay meticulous attention to advertising signage.

They range from well - known artists such as Berthe Morisot (French), Mary Cassatt (American) and Rosa Bonheur (French), to painters who are lesser - known in the United States, including Anna Ancher (Danish) and Paula Modersohn - Becker (German).

In this exhibition, key works by Bacon and Warhol will engage in an intelligent dialogue with those by some of the many different painters who have worked on the borderline between these two artistic languages, developing their own vocabularies with an emphasis on the manipulation and transgression of images, creating direct and indirect actions and narratives.

Signed LL Theorodos Stamos is heralded as one of the few abstract painters who bridged the New York School's first and second generations.

Amazingly, this is the first solo showing of the influential Leipzig artist's work in the UK, which is all the more surprising given how often the young painters who I've talked to in London cite him as an influence.

And the spaces weren't very advantageous — although some people like Pat Hearn went all the way past Avenue D, where she was able to get a very large space, at the time when she was showing Philip Taaffe, Peter Schuyff, and Milan Kunc, who were these painters who had very substantial waiting lists.

Looking at painters who came to prominence in the 1960s,»70s and»80s, this book shows how abstract painting has developed in the wake of postwar movements such as Art Informel.

From the sixteenth and seventeenth century Flemish and Dutch landscape and still - life painters who came to Britain in search of new patrons, through moments of political and religious unrest, to Britain's current position within the global landscape, the exhibition will reveal how British art has been fundamentally shaped by successive waves of migration.

He was one of the Ten American Painters who in 1897 seceded from the Society of American Artists.

The accompanying fully illustrated exhibition catalog, published by the AFA in association with Yale University Press, surveys the activities and contributions of women painters who worked in Paris in the late 19th century, and provides an examination of the sociopolitical conditions that shaped the culture of the period.

Some painters who effectively used spray painting techniques include Jules Olitski, who was a pioneer in his spray technique that covered his large paintings with layer after layer of different colors, often gradually changing hue and value in subtle progression.

Quaytman was part of a solid generation of abstract painters who took their cue not just from the Suprematists and the neo-plasticism of Mondrian but also from the color theories of Albers and Matisse, correlating volume and effect.

Robert Beauchamp, Elmer Bischoff, Nathan Oliveira, and George McNeil, to name only a few examples of figurative painters who were also active at the time.

Can you talk about any other painters who were important to you in terms of this conversation?

I admire all painters who keep trying to make «pictures» however that is defined, but I suspect that if her work had originated somewhere else, like DC, she'd be just as unknown as myself.

Do you know of any painters who do — I mean good painters — who do abstract painting one week and figure - painting the next?

My Web site has been fortunate to touch on painters who continue simply painting, such as Chris Haub or Alison Raimes, and those who do not, such as Bridget Riley or Peter Halley.

They were painters who should have been promoted.

As such, «Rower's pours come closer to the abstracting nature photos of Edward Weston than to the works of Pollock or de Kooning, painters who, even when most abstract, always left behind traces of the actions of their hands.»

The most famous alternative to the Salon was the gallery created by the painters who came to be known as the Impressionists.

Also, there is an extremely small number of painters here in San Diego, that I've met anyway, who are serious «modern» perceptual painters — lots of plein - air type painters who have a more regional focus but very few people painting more contemporary realism from life.

Are there any other younger painters who you see much of or that interest you particularly?