Sentences with phrase «stained color field paintings»

Biography: Vivian Springford American, b. 1914 Vivian Springford, an artist best known for her «Black Paintings» of the 1950s - early 60s, and later, her vivid stained color field paintings, is having a second coming.

The crucial role of binding medium, first made explicit in the chapter on red, is further investigated in Frankenthaler's and Louis's stained color field paintings, and the history of pigments is carried forward in works by Veronese and by Millais and Hunt.

Not exact matches

The 80 - year - old Sam Gilliam, known for his ravishing color - field canvases that he sometimes drapes sculpturally on the wall, painted a monumental canvas stained and splattered all over with hot pinks and reds, titled Red April (1970), in direct response to the assassination of Martin Luther King Jr. on April 4, 1968.

Throughout 1968 I made paintings with rollers, stains, hard edge borders and lines across intense colored fields.

Important among them was the propensity to get very physical with paint and to take into new terrain the pours and drips of Jackson Pollock and the staining technique of Color Field painting.

Color Field pioneer Sam Gilliam, for example, first applied acrylic paint to raw, unprimed canvas by staining it like a piece of fabric, as realized in the sculpture - painting hybrid Hedge Sky.

They also look to back color - field painting, when stained canvas for many critics came fraught with lightness and excess.

Painters such as Kenneth Noland, Helen Frankenthaler, Dan Christensen, Sam Francis, Larry Zox, Ronnie Landfield, Larry Poons, Jules Olitski, Gene Davis, Ronald Davis, Sam Gilliam and others successfully used water - based acrylics for their new stain, color field paintings.

Often staining both sides of the canvas, her paintings operate as fluid scrims between still life, color field and pattern and decoration.

By the 1970s Poons created thick - skinned, cracked and heavy paintings referred to as Elephant Skin paintings; while Christensen sprayed loops, colored webs of lines and calligraphy, across multi-colored fields of delicate grounds; Ronnie Landfield's stained band paintings are reflections of both Chinese landscape painting and the Color Field idiom, and John Seery's stained painting as exemplified by East, 1973, from the National Gallery of Australia.

In Gorky's most effective and accomplished paintings between the years 1941 and 1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines.

Magna, a special artist use acrylic paint was developed by Leonard Bocour and Sam Golden in 1947 and reformulated in 1960, specifically for Morris Louis and other stain painters of the color field movement.

Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting.

The exhibition will comprise a focused selection of large - scale paintings by these artists from the late - 50s to the early - 70s, covering the first wave of stained canvas techniques that would come to be referred to as «Color Field.»

In Gorky's most effective and accomplished paintings between the years 1941 — 1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines.

It's very interesting to me how the 1959 — 61 works in our show — coming between her celebrated soak - stain work of the 1950s and her Color Field paintings of the 1960s — have somehow slipped out of her history.

Eventually, she switched to acrylic paint, but Frankenthaler's sensuous and painterly staining technique led Morris Louis to adapt her process in what would become known as «Color Field» painting, and declare that Frankenthaler was the «bridge from Pollock to what was possible.»

The «one - shot painting» stain technique of color field was the innovation of Helen Frankenthaler, first accomplished in «Mountains and Sea,» made in 1952, when she was 24 and unknown.

An early and influential pioneer of Color Field painting, Louis gained renown for his innovative method of staining raw canvases with washes of pigment to create vibrant, large - scale works.

Early in her career she developed the stain painting technique, which became a catalyst for a generation of color field painters.

Manny Farber's monumental color field paintings created in New York and California during the years 1967 through 1975 were cut, stained, saturated, sliced, wet, glued, painted, folded, collaged, pleated, pasted, layered, dripped, brushed, glazed, bled, marked, colored, tinted, textured, smeared, pierced, trimmed, slit, creased, buffed, wiped, varnished, washed, graphed, drawn, scraped, burnished, rubbed, scoured, soaked, coated, veiled, and wrapped.

Stained Color Field Abstraction was pioneered by Helen Frankenthaler.She diluted her paints and poured them onto canvases often lying on a floor or table.

Ms. Frankenthaler, whose staining technique was essential to the development of Color Field painting, was one of the most admired artists of her generation.

The convolutions of these chance felt fragments recall a disparate collection of memories — the quick gestures of a Joan Mitchell painting, the color field forms of Morris Louis» stained canvases, the starkness of Robert Morris» wall pieces — each imbued with aleatory process that accepts accident and chance.

Known for his vivid «stain» paintings, Morris Louis was an American Abstract Expressionist and color field painter.

Inspired by European modernism and closely related to Abstract Expressionism, Color Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture pColor Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture pcolor spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses.

Kenneth Noland, Following Sea, 1974 Acrylic on canvas, 98 x 98 inches February 29 — May 26, 2008 Color field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, or spraying thinned paint onto raw canvas, creating vast chromatic expanses.

The paintings become gauzy mindscapes (not landscapes, mind you, but something much more vulnerable and cerebral), rendered with Flashe vinyl - based acrylic paint that stains and swirls on the canvas in color fields, before being lyrically interrupted by thin vines of colored neon light.

Staining was soon adopted by many other abstract artists, especially Morris Louis and Kenneth Noland, and helped to inspire what came to be known as Color Field painting.

Influenced by Jackson Pollock and other Abstract Expressionists upon moving to NYC, she developed a unique method of painting, the soak - stain technique, in order to create her color field paintings, which were a major influence on such other color - field painters as Morris Louis and Kenneth Noland.

Richter's stark, lovely and somewhat eerily tinted photographs are reminiscent of stained canvas in abstract color field paintings, which have a fresh narrative viewpoint; in this instance, flowers that may have been influenced by early darkroom experiments by Man Ray.

Almost instantaneously, there was a realization that Schnabel and Salle's work was coming out of Color Field painting — they used stained canvases, but they placed images on top.

In these works he used the technique of soak - staining, applying thinned paint onto the canvas to create abstract fields of color, horizontal cloud - like rectangles, which pervade the picture space with their lyrical presence.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open cColor - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open colorcolor.

Frankenthaler's invention of soak - stain, which involved pouring turpentine - thinned oil paint (and later, watered - down acrylic) on a flat, untreated canvas, opened doors to the next big thing, Color Field painting.

The abstract Color Field painter Morris Louis would famously remark that Frankenthaler's Mountains and Sea was «the bridge between Pollock, and what was possible,» but the staining in her own work is often accompanied by paint drawn, scrawled, and splattered, and redolent with associations.

She gained fame with her invention of the color - stain technique — applying thin washes of paint to unprimed canvas — in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the»color - stain technique — applying thin washes of paint to unprimed canvas — in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the»Color Field painters who emerged in the»60s.

Her pure abstract paintings call to mind the stained canvases of the Color Field artists, but her work embodies a unique elegance that differentiates it from that of her contemporaries.

Yes, staining is somewhat unpredictable, and that dialog between control and chance was where much of my vocabulary started, but I feel I've always been as invested in the image and politics of representational space, with pattern and decoration and with color field painting, as in the physical process of making the painting.

Helen Frankenthaler, Yearning (1973): Frankenthaler pioneered the second generation of Color Field painting and introduced the technique of staining by painting directly onto unprimed, turpentine - soaked canvas.

Frankenthaler pioneered the second generation of Color Field painting and introduced the technique of staining by painting directly onto unprimed, turpentine - soaked canvas.

It actually happened in the following two years, when I was about eight years old, my parents took me to see an exhibit at the Ontario Art Gallery — I believe it was a big abstract color field painting show, which included a huge red stained painting.

Inventing the color - stain technique, in which she poured turpentine - thinned paint onto canvas, she is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field paincolor - stain technique, in which she poured turpentine - thinned paint onto canvas, she is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painColor Field painting.

This technique, known as «soak stain» was used by Jackson Pollock (1912 — 1956), and others; and was adopted by other artists notably Morris Louis (1912 — 1962), and Kenneth Noland (1924 — 2010), and launched the second generation of the Color Field school of painting.

A color - field painter associated with the Abstract Expressionist circle, including Jackson Pollock, Clement Greenberg, and Helen Frankenthaler, Dzubas was integral to the development of the stain painting technique for which Frankenthaler, Morris Louis, and Kenneth Noland became renowned.

This style of painting, which employed stripes, stains, and fields of color was as also practiced by his colleagues Morris Louis and Kenneth Noland.

Back in Washington, Noland and Louis began experimenting with the «soak - stain» technique, pouring pigment into schematic patterns that reduced painting to a single element - color - and helped usher in the «color - field» school of painting.

The staining process created fields of dense color and other areas where the color seemed almost translucent; for Dzubas, these paintings referenced natural phenomena, emotion, the painterly gesture, and the experience of color itself.

Frankenthaler had become a creator of a new kind of abstraction which became known as Color Field painting, using stains and color to seep into the caColor Field painting, using stains and color to seep into the cacolor to seep into the canvas.