His relationship to the medium was intensified by his feeling that he was working against «
a perceived death of painting,» and that producing anything original was an impossibility.
Not exact matches
In the politically radical 1960s and 1970s, it once again became fashionable to toll the
death knell for
painting,
perceived as a product
of bourgeois culture.
Following Cézanne's
death, the
perceived links between his work and El Greco's were crucial for the emergence
of modern
painting, as both artists also decisively influenced Cubism and Expressionism.