Sentences with phrase «subjects of the abstract painter»

We are told that the subjects of the abstract painter José Lerma, «become monumental silhouettes of baroque effigies», whatever that may mean.

Not exact matches

Alvarado, Donegan, Hachisuka, Hiro, Hansen, Tuttle and Wurtz each offer discrete challenges to accepted subjects and approaches in modern painting: the nonreferentiality of abstract art, the relationships of artist to model and of artwork to viewer, and the conventional roles of the gestural painter.

The influence of abstract expressionism on Eggleston, partly through his friendship with the painter Tom Young, is addressed at points throughout the show, and it is important to recognise that perspectival lines, the balance of colour throughout a composition, and the presence of contextual details such as logos and pavements, are as important as the features, dress and celebrity identity of the subjects.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

Gonzalo Fonseca, the father of abstract painter Caio Fonseca, is the subject of a new documentary.

Since the New York School were primarily abstract painters, there is no direct address to the subject of drink in their works, although the urgency of brushstroke and facture often seem to be invoking an internal drama of intoxication, disinhibition and released authenticity.

Eleven large - scale canvases by the English abstract painter Sandra Blow RA (1925 - 2006) will be the subject of an exhibition at The Fine Art Society in London.

Lüpertz has frequently claimed that his subjects are really just motifs, that he is essentially an abstract painter (a similar claim is made by Baselitz, who metaphorically empties his paintings of content by inverting them, like pouring water from a glass).

Sam Francis was an abstract painter, and therefore the dimensions of the subject do not follow the preconceptions that form our lives, but rather, spread across space and time in certain ways that are not spelled out for us in logic.

Despite not being as widely known as some of his New York School contemporaries, Clyfford Still was the initial painter to break through to a different and radically abstract style devoid of any obvious subject matter.

He sought to obscure the subject matter not just for the goal of pure abstract expression but also to create a visual poetry more concrete than that of his painter friends.

Its subject is the 1940 - born painter Robert Cenedella, who rose up during one of the nation's most interesting periods of 20th - century painting, when Pollock, Rothko and their comrades were making abstract expressionism synonymous with the American art scene.

By obscuring his subject, and in turn his brush stroke, Cloninger sought to remove an obvious presence of personality and gesture, that has been expected of most abstract painters.

Now acknowledged as one of the world's leading abstract painters, the 67 - year - old artist has been the subject of major shows at venues from the Metropolitan Museum New York to the Bibliothèque Nationale de France.

Lawson's long career as a painter has seen her explore a wide breath of subject matter through figurative and abstract painting, referencing a number of artistic movements.

Charline von Heyl, 53, a German - born painter who lives in New York, is known for her abstract canvases that have been the subject of shows at the Tate Liverpool in England and the Institute of Contemporary Art in Philadelphia.

Katy Siegel, Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art, Stony Brook University Dr. Siegel's focus is on the celebrated African - American abstract painter's previously unknown sculpture, which is the subject of an exhibition at the Baltimore Museum of Art that will come to the Metropolitan Museum of Art this fall.

The inebriated and carefree social life of New York School abstract painters appears in numerous books and films, such as the 1976 «Next Stop, Greenwich Village,» or «Pollock» (2000) and it is not new to most readers with an interest in the subject.

He's a character created by an anonymous abstract painter who gleaned in the early days of Pop that simple compositions of quotidian subjects were going to be a market hit.

In addition to his close friendships with abstract expressionist painters and sculptors, he was one of the «Irascibles» made famous in Nina Leen's 1951 Life photograph, and in 1948, together with Motherwell, Hare, and Mark Rothko, he co-founded the Subjects of the Artist School, an artists group that provided a forum to discuss the issues at stake in contemporary painting.

Bromirski and LaBine are both abstract painters who extend the definition of paint on canvas by subjecting their works to a variety of «assaults,» including hole - cutting, pasting, sprinkling material such as sand (Bromirski) and layering non art - materials such as pillow cases (LaBine).

Her work, which has been the subject of many solo exhibitions, was recently featured in the 2014 Whitney Biennial, alongside that of Jacqueline Humphries, Dona Nelson, Laura Owens, and Amy Sillman, in a section artist - curator Michelle Grabner dedicated to female painters «who take on the authority of abstract painting — its history, its ambition, and its relationship to power and gender.»

They have made him one of the leading abstract painters of the last 40 years and have been the subject of much discussion, yet a cogent, plausible understanding of them is still needed.