Hoptman notes that their experimental strategies and systematic distillation of painting practice eventually resulted in «abstraction's death by a thousand irrelevancies,» leading
succeeding generations of painters to repudiate formalism and conclude that the age of content without subject matter was long gone.
Not exact matches
Claimed as a Fauvist, a Surrealist, Expressionist, and a Magical Realist, the Spanish
painter and sculptor Joan Miró has had an enormous influence on the work
of several
generations of succeeding artists.
Succeeding generations of artists have generally given him (or Tom Thomson) the highest acclaim among Canadian
painters (see Painting).
Homer never taught in a school or privately, as did Thomas Eakins, but his works strongly influenced
succeeding generations of American
painters for their direct and energetic interpretation
of man's stoic relationship to an often neutral and sometimes harsh wilderness.
Some went back to the exploration
of perceptual stimulation after working in others (if related) styles... And
succeeding generations of artists — notably but not exclusively
painters, and notably but not exclusively Americans — have referred to op mannerisms or even return to op practices, interested all over again in what can be done to stimulate the eye beyond the expected, beyond the quotidian, beyond the prosaic.
Together with Kenneth Noland (b. 1924) and Frank Stella (b. 1936), he is considered to be one
of the leaders
of the
generation of American
painters that
succeeded the New York School
of Abstract Expressionism, except that his development differs markedly from the others because, from the beginning, he rejected the influence
of US abstract expressionist painting and turned directly to a personal re-examination
of European, and especially French, sources
of postmodernist art.