Sentences with phrase «started as an abstract painter»

People remember Alfred Leslie as the guy who started as an abstract painter.

Born in 1940, he started as an abstract painter, and he took instantly to the movement after seeing the slit canvases of Lucio Fontana.

LY: I started as an abstract painter, as big as I could make complete with palette knives and buckets of paint from Utrecht.

Bischoff, along with Richard Diebenkorn and David Park, was part of the post-World War II generation of artists who started as abstract painters and found their way back to figurative art.

Not exact matches

Behind the black gate was a world of color, hundreds of abstract works created and hidden away by Mr. Bates, who had a promising start as a painter in the 1970s before renouncing the art world and retreating to his storefront to paint.

Mickalene Thomas started out as an abstract painter, inspired by Australian Aboriginal art and late - nineteenth - century French Pointillism.

Jack Bush started off as an illustrator but fostered his love of abstract art in his spare time, playing a role in the Toronto - based abstract expressionist group Painters Eleven (1953 — 60) and winning the attention of Clement Greenberg in 1957.

Just as Ms. Blaine was becoming known as a promising abstract painter, and gaining the admiration of such critics as Clement Greenberg, she started to shift back to representation.

Bradford: Yes, I started out as an abstract painter.

Jasper Johns (born 1930) made his major breakthrough as a painter in the mid-1950s when he started using iconic, popular images in his paintings — an explosive move at a moment when advanced painting was understood to be exclusively abstract.

Freilicher started out as an abstract painter after studying with Hans Hofmann in the late 1940s, but turned somewhat abruptly to representational painting, Russeth wrote for ARTnews, after seeing the Museum of Modern Art's 1948 Bonnard retrospective.

Self - taught, he started his artistic career as a painter, making gestural, abstract works.

One of the pioneers of the West Coast «Light and Space» movement, Irwin started out as an abstract painter but is now known for his architectural interventions made with translucent scrims, light tubes, and natural light (one of which, Excursus: Homage to the Square ³, is currently on view at Dia: Beacon).

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.

During that time he retrained as a professional sign - painter: indirectly it was the «matter - of - factness» of sign - painting that showed the way to the apparently simple, abstract wall paintings he started to make in the early 1990s.

This work is not abstracted from reality in the way that some abstract painters start with particular objects or landscapes; rather, Egan refuses to begin with a plan, relying instead on, in his words, «an unconscious recognition of my surroundings, digesting and transferring this complexity into a cascade of recognizable but irrational space» in a process that begins with marks as a record of «natural movements.»

After starting out as a purely abstract painter, Ms. Hartigan gradually introduced images into her work.

JS: I started out as an abstract painter.

Condo started making «drawing - paintings», where you can't distinguish e.g. paint from pastel, or a line made with a paintbrush or a line drawn in from and thus making the two mediums equal: «There's no real difference between figurative painting or abstract painting, «cause it's all painting to begin with... You don't» have to follow any rules as a painter.

Jellett had precocious talent as a painter, and while starting out as a follower of Impressionism she began - as a result of her association with the Parisian abstract painter and teacher Albert Gleizes - to develop a greater interest in modern abstract art like Cubism.

They are less titillating than Ms. Semmel's earlier work, but together they create a coherent conceptual project that is also — as one would expect from a painter who started off as an abstract expressionist — still highly engaged with the tactility of paint and the possibilities of color.

The abstract painter Malevich was not murdered, of course, but using his geometric style as a compositional starting point, Speed created a haunting image of a torn - open envelope with tablets emerging from it, bringing to mind the nationwide scare over the terrorist mailings of Anthrax.

Both artists started as abstract expressionist painters in the 1950s, Coplans in London and Semmel in New York.

Although she started out as an abstract painter, Joan Semmel's career has come to be understood primarily in terms of the radical figurative paintings she has been creating since the 1970s.