Sentences with phrase «studied as an abstract painter»

«I studied as an abstract painter and i was really excited about how these different fabrics collided but they made sense.

Not exact matches

«In the future, I hope when people talk about me, it's not as an abstract painter, but that I came to abstraction through the study of very concrete objects,» Zhang said.

In the early 1990s, as a young artist out of graduate school at Bennington College in Vermont, where he studied the work of mainstream abstract painters such as Helen Frankenthaler and Kenneth Noland, Odita got a job at Kenkeleba House in New York, owned by the painter Joe Overstreet, who collected and showed work by African American artists.

As an emerging Abstract Expressionist painter, Melinda happily acknowledges that abstract painting was in her blood long before she studied at the School of Visual Arts in New York City under Frank Roth.

She studied art in Tours, France under the direction of a former assistant to and student of Hans Hoffmann and evolved as an abstract painter.

William Klein, Gun 1, New York, 1954 Klein had originally studied painting in Paris with Fernand Léger, enjoying some early success in Europe as an abstract painter before switching to photography.

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.

This will be an interesting chance to get a closer look at the process of a prolific abstract painter in a smaller, gallery setting, as the New Work show will be an assortment of gouache color studies, 2D drawings, and large - scale paintings.

Created for a series of murals, the nine painting studies form a concise example of Hofmann's strengths as an abstract painter and modernist visionary.

The painter John Hoyland, who was studying at the same time as me, had his work rejected from the final year student show because it was abstract.

In 1930 she moved to Munich and studied under Hans Hofmann (1880 - 1966), an important abstract expressionist painter who inspired students as well as artists throughout the world.

He studied art at the Art Students League, and during the 1970s and»80s he worked as a studio assistant to some of the most prominent New York abstract painters of the day, including Kenneth Noland, Larry Poons and Helen Frankenthaler.

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.

While his monochrome grounds align his work with those for whom monochromatic painting became the next logical step in the advancement of abstract art toward a reductive purity, Motherwell was sharply, yet graciously, critical of those painters who had studied his work of the 1940s, specifically The Little Spanish Prison (1941 - 1944) and Pancho Villa, Dead and Alive (1943) and employed stripes as a modular unit in their paintings.

Later, Rosenberg published further collections of essays, including Discovering the Present (1973), and Art on the Edge (1975), as well as several individual studies of abstract painters like his friend Saul Steinberg (1978).

She studied alongside renowned abstract painters such as Barnett Newman, Mark Rothko, and Robert Motherwell.

Laurent went on to study art at the Académie de la Grande Chaumière and work as an abstract painter in Montparnasse.

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.

Color was the basis of her painting, undeniably reflecting her life - long study of color theory as well as the influence of luminous, elegant abstract works by Washington - based Color Field painters such as Morris Louis, Kenneth Noland, and Gene Davis.

She studied, for a year with Hans Hoffman, who as a teacher and a painter, influenced many of the abstract expressionist painters of the time.