Sentences with phrase «radical nature of his painting»

It is an exhibiton that focuses on the radical nature of painting.

Not exact matches

The most authentic statement of Manet's sense of his situation as a man and as an artist may well be his two versions, painted in 1881, of The Escape of Rochefort, in my opinion unconscious or disguised self - images, where the equivocal radical leader, hardly an outright hero by any standards, is represented in complete isolation from nature and his fellow men: he is, in fact, not even recognizably present in one of the paintings of his escape from New Caledonia.

But because of the radical nature of the time, and the kind of painting we were doing in Paris in the»60s, you had to go to that somewhere else, and do something there, if you thought that things were not the way they ought to be.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

Of all these artists, Pollock probably made the most radical contribution to art since Picasso because of his entirely new and original approach to the very act of painting which was indivisible from the nature of his imagerOf all these artists, Pollock probably made the most radical contribution to art since Picasso because of his entirely new and original approach to the very act of painting which was indivisible from the nature of his imagerof his entirely new and original approach to the very act of painting which was indivisible from the nature of his imagerof painting which was indivisible from the nature of his imagerof his imagery.

His radical refusal to copy nature reduced painting to large, vibrant fields of colours.

Viewed together, the paintings of Larry Poons and Jean Dubuffet offer a unique context in which to appreciate both the chaotic nature of radical action and the sense of openness and opportunity that can emerge as a result.