Sentences with phrase «school of abstract expressionism»

A leading figure in modern art of the early 20th century, Ernst influenced an entire generation of contemporary Surrealists artists including Salvador Dali (1904 - 89) and Yves Tanguy (1900 - 55), as well as several members of the New York School of abstract expressionism.

An inheritor of the San Francisco Bay Area School of abstract expressionism, her paintings... are at once of this time and also firmly rooted in the uniquely American abstract expressionist tradition.»

It was the St Ives group which established links with artists from the emerging New York school of abstract expressionism, and which provided most of the abstract paintings promoted world - wide during the 1950s and 60s through the auspices of the British Council and the Arts Council.

Kline and Guston are counted in the vanguard group known as the New York School of abstract expressionism.

Muralism inspired by Diego Rivera's visits here in the»30s, international surrealist and abstract currents, the emergence of a distinctive school of abstract expressionism and the immediate follow - up of an antagonistic school of figurative painters, are all succinctly acknowledged.

Manoucher Yektai is an American - Iranian artist who belongs to the school of abstract expressionism.

It was from Parker that Isberg learned his classical drawing techniques as well as being influenced by his advocacy for the New York School of abstract expressionism.

Above all, she left a history of painting noted for its sublime assimilation of the School of Paris and the New York School of abstract expressionism.

MoMA's newest exhibit, Abstract Expressionist New York presents a good overview of the NY school of abstract expressionism during its heyday in the 40's and 50's.

The albums of art history will forever remark on her sublime assimilation of the School of Paris and the New York School of abstract expressionism.

Not exact matches

Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, Hard - edge painting, Geometric abstraction, Minimalism, and Color Field.

In fact, the dominance of the term «abstract expressionism» over «action painting,» which seemed more applicable to Pollock and Willem de Kooning than any other members of the New York School, is emblematic of the influence of formalist discourse.

In the years after World War II, a group of New York artists started one of the first true schools of artists in America, bringing about a new era in American artwork: abstract expressionism.

While Arshile Gorky is considered to be one of the founding fathers of abstract expressionism and a surrealist, he was also one of the first painters of the New York School who used the technique of staining.

He had just left the Chelsea School of Art after an unsatisfactory period as a figurative painter in an institution that overvalued abstract expressionism, and was «thrashing about as an artist» attempting to express his perplexity and anger at the dismal political situation facing the left at the time.

In the mythology of the New York school and the advent of abstract expressionism this was a freeze - frame moment.

In 1946, Diebenkorn enrolled as a student in the California School of Fine Arts in San Francisco, now known as the San Francisco Art Institute which was developing its own vigorous style of abstract expressionism.

She synthesizes allusions to divergent schools of painting, from pop to abstract expressionism to graffiti, into a riotous fusion unmistakably her own.

Woodruff was in the city during the height of abstract expressionism, and while the work of the New York School had an influence on his art, equally important was his life - long interest in African art.

An important figure in the New York School, Paul Jenkins contributed to the development of abstract expressionism in New York and abroad with his intuitive, chance - based approach to painting.

Influenced by the emergence of abstract expressionism, the New York School, Color Field Painting and the Washington Color School, Gilliam's early style developed from brooding figural abstractions to large paintings of flatly applied color and paintings of diagonal stripes on square fields.

Albert Irvin, the painter, who has died aged 92, started out in the 1950s as a figurative artist of the kitchen sink school, but after discovering Willem de Kooning, Jackson Pollock and Mark Rothko at a famous Tate exhibition in 1956 he reinvented himself as an exponent of a dazzlingly vigorous abstract expressionism, becoming one of Britain's most respected abstract artists.

Two American artists who live and work in Los Angeles, are representing one post-painting School of L.A., since they maintain the large surfaces and the strong - bright colors, their works are non-figurative and abstract, acting as reference to abstract expressionism but adapted in a new social context.

Measuring more than nine feet wide and seven feet high, Mountains and Sea subscribed to the ambitious scale already associated with abstract expressionism, and it also featured the loose, gestural paint handling that was becoming a trademark of the New York School.

Run by Hans Hofmann, whose reputation as an excellent teacher was well - established, the Hofmann School had become a vital space for nurturing and developing the talent and ideas that formed the foundation of abstract expressionism and the New York school of paiSchool had become a vital space for nurturing and developing the talent and ideas that formed the foundation of abstract expressionism and the New York school of paischool of painting.

(We can see something similar today in the art schools in America, where the long shadow of abstract expressionism continues to affect both the ambitions and style of teachers and artists, in New York especially.

Donald Kuspit, credits Manolis with starting a new abstract movement which he coined the «Miami School of Abstract Expressionism,» and also states, «Indeed, Manolis» color - saturated abstractions breathe fresh life — fresh feeling — into abstract expressionism... He's a modern master...» J. Steven is a prodigious talent.

The first batch of these come from Hockney's art - school days, when he experimented with abstract expressionism.

Not only were the great collections that changed hands in the 19th and 20th centuries lost by the Corcoran to institutions in other cities and later to the National Gallery and the Smithsonian, but seminal movements in American art, such as the emergence in the 1950s and»60s of abstract expressionism, pop art and even the Washington Color School (which started in its own back yard!)

The exhibition begins with John Sloan's Ashcan School etchings of everyday urban experience in the 1900s and concludes with Jackson Pollock and the triumph of abstract expressionism in the 1950s.

But already then the David Park, or just about that time, and company were, in fact, they already had emerged out of, and Diebenkorn, of course, out of the abstract expressionism of Still, Rothko for that matter, but especially Clyfford Still at the San Francisco, California School of Fine Arts, now Art Institute.

Upon returning to Manhattan, they found themselves at the center of the burgeoning New York school — Krasner was now married to Jackson Pollock, and both Hofmann and Gorky were seminal figures in the emerging language of abstract expressionism.

He opened his own schools of art in New York City and in Provincetown, which were central to the development of abstract expressionism.

Especially as the competition between national schools of abstract painting escalated, breaking out in arguments and even punches in the case of Kline and the French painter Jean Fautrier, it would follow that the internal competition within these national schools also intensified.27 This was certainly true on the French side at the Venice Biennale: in a very unusual move, two artists — Fautrier and Hans Hartung — were awarded Grand Prizes in painting, whereas normally only one was given, because the jury could not decide between the two contenders.28 Within the context of the politics internal to the movement of abstract expressionism, Meryon could thus be seen as a reassertion of Kline's original, breakthrough style as his own and thus a defence of his personal artistic identity, after Kline himself had turned to colour, around 1955, and left it up for grabs.

Now in his 80s; Morley's life has been an interesting one — which has included prison; with a three year stint in Wormwood Scrubs prison, after having been homeless for a time and becoming a petty thief, a period of psychoanalysis, and five marriages — the artist has not been particularly troubled by the notion of a status quo, but has shown a great diversity in his career seeing Morley associated with the Euston Road school of painting via Cézanne, abstraction, abstract expressionism, neo — expressionism and post-pop art.

In 1948 he, along with Mark Rothko, Robert Motherwell, and others, founded the Subjects of the Artist School as a means for exploring and promulgating ideas about the inspiration, subjects, attitudes, and possibilities of abstract expressionism.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

This solo show gained him a reputation as one of the top young 20th - century painters, and a key exponent of Tachisme - the French gesturalist style of Art Informel - a European variant of abstract expressionism pioneered by the New York School.

More abstract than expressionistic, this new school had little tangible connection with the more representational, if not completely realistic, style of early 20th - century expressionism.

The occasional lectures that he gave (at the California School of Fine Arts, San Francisco, 1950; at the University of Wyoming, Laramie, 1951; at Yale University, New Haven, 1952 - 1953; and at Hunter College, New York, 1959 - 1967) allowed him to develop his theories, particularly his criticisms of abstract expressionism.

By the late 1950s, her color palette was redolent with the hues of the French countryside, reflecting an evolution away from the starkness of the New York School's abstract expressionism.

Later called The New York School, abstract expressionism involved a variety of artistic techniques and characteristics, where artists were primarily interconnected by a desire to convey intense interior emotion through abstraction.

As an undergraduate art major, Goldberg studied with the New York School painter Angelo Ippolito, who subscribed to the spontaneous approach that is the essence of abstract expressionism, regardless of the medium or technique.

Taken together, the three exhibitions provide rare insight into one of the 20th century's most accomplished, if enigmatic, female modernists, an artist who linked the cerebral gravitas of abstract expressionism with the sensuality of the School of Paris.

Specializing in non-objective and surrealist art from pre-war Europe through the birth of abstract expressionism and the New York School in post-war America.

Although not an organized or self conscious movement, one of the most important developments in abstract art to emerge following abstract expressionism occurred in Washington, D.C., and is most often designated the Washington Color School.

The background for Gilliam's art was the 1950s, which witnessed the emergence of abstract expressionism and the New York School followed by Field Painting.

In some ways, the contrast between them was extreme: Sam was old school old school, a barking, snarling, and fowl - mouthed relic of the time when abstract expressionism ruled the world.

Francisco J.J. C Masseria's art derives from two opposed schools of thought: the Romantic realism of Diego Velasquez, Peter Paul Rubens and Eugene Delacroix, and the swirling abstract expressionism of Chaim Soutine an dWillem de Kooning.

Altoon had gone from the Navy to art school in Los Angeles to New York, arriving when the heady air of abstract expressionism was at its thickest.