Sentences with phrase «terms of abstract painting»

And that's how I end up with such different ways of looking at various possibilities, especially in terms of abstract painting.

As mentioned in note 3, one example of this limited toolbox is the continued reliance on Clement Greenberg as the only key to unpacking the terms of abstract painting.

SK Do you find criticism in terms of abstract painting today limited, or different in the way abstract painting is being perceived?

Not exact matches

Neo-romanticism is a term applied to the imaginative and often quite abstract landscape based painting of Paul Nash, Graham Sutherland...

In fact, the dominance of the term «abstract expressionism» over «action painting,» which seemed more applicable to Pollock and Willem de Kooning than any other members of the New York School, is emblematic of the influence of formalist discourse.

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During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

Peter Plagens — who is concerned with his own kind of beauty, which he terms «existential» — will show abstract paintings and collages.

The term «abstract» fails to evoke the unforgiving rigor of the paintings by San Franciscan John Meyer (1943 - 2002) that George Lawson has just brought back to light after many years in storage or in private hands.

This group of exclusively male artists were often referred to as action painters, a term coined by Modernist art historian Robert Rosenblum, referring to the abstract, gestural painting style.

The reinstallation triumphs despite the loss of a pivotal long - term loan of a major, privately owned Jackson Pollock painting, The Blue Unconscious (1946), which was on view at the MFAH from 2007 until the recent Henry Ossawa Tanner survey, which the abstract expressionist collection was temporarily removed to accommodate.

It is a descriptive term characterizing a type of abstract painting related to Abstract Expressionism; in use since the 1940s.

(Back then its name was to remain the Museum of Non-Objective Painting, a description Guggenheim preferred over the term «abstract art.»)

While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works» «objectness.»

Coined in April of last year by critic Walter Robinson and echoed by our own Jerry Saltz, the term refers to a loose, gormless, novelty - seeking form of abstract painting that hedges every bet at relevance.

Borna Sammak creates what he terms «digital paintings,» consisting of thousands of images downloaded from the Internet and merged into a mesmerizing and abstract animation, displayed on a high definition digital monitor.

The resultant fusion of abstract painting and social awareness, termed «social abstraction» by the artist, has forged a fresh, invigorated space for an updated Abstract Expressionism.

David Reed is a grandmaster — no painter has contributed as much in terms of expanding the vocabulary of abstract painting and maintaining its relevance during this era of marginalization, although there are many in New York who currently enjoy greater status.

Rothko, a contemporary of Jackson Pollock and a major figure in abstract expressionism (though he personally loathed the term), produced 40 large format paintings in shades of dark red, brown and black for the Seagram commission.

Divided into three sections, the writings reveal Riley's relationship to different topics over time, including the term «abstract», the influence of Georges Seurat and Paul Cézanne, the role of color and painting throughout art history, the importance of perception, and much more.

Nor is the distinction between the abstract and figurative exclusive in terms of a concern with painting itself.

Perhaps because of the incandescence of the YBAs in the 1990s, British art in the 1980s often gets short thrift in terms of column inches in histories of modern and contemporary art, but — as Ikon's new show on the decade should demonstrate — it was a period of free - wheeling experimentation, in which figurative painting made a comeback, the variety of abstract styles increased, installation art grew in ambition and cut - and - paste appropriation prevailed.

A term originating in the late 1950s for abstract paintings characterized by sharply defined geometric areas of flat colors conveying little or no depth, such as works by Ellsworth Kelly, Kenneth Noland, Ad Reinhardt, and Barnett Newman.

Visiting Robert Ruello's third solo exhibition at Inman Gallery, I was reminded of the term «abstract illusionism,» which critic Barbara Rose coined in the late 1960s to describe painters using trompe - l'oeuil devices to create spatial and other pictorial illusions in non-representational painting.

Lyrical abstraction, a term connected to a number of abstract artists working between 1945 - 1960s, was used to describe the work of Meyer along with others painting all - over compositions (with no singular focal point) that exhibited a nearly patterned organization with vibrational movement.

The thing that worries me, though, is whether abstract painting has enough in it the way, say, great Renaissance painting has, in terms of continuing to be interesting.

Ideally, the viewer would stand in front of his paintings, focusing on large fields of color and abstract forms, and come to terms with the self and his or her own scale.

Termed Color Field painting by the art critic and champion of American abstract painting, Clement Greenberg, it was defined and differentiated from Abstract Expressionism by an intense approach to color theory and a revolutionary application of paint.

These constructions, which are termed «cuciti a macchina», consist of fragments of his own clothing or other dyed fabric, which were stretched over canvas or collaged into abstract compositions and occasionally enhanced with paint.

Zombie Formalism, a term coined by Walter Robinson and fleshed out by Jerry Saltz, refers to the glut of look - alike, generic abstract field painting produced over the past few years by young, mostly male, artists.

It's not abstract «pure painting,» as that term would be defined in the postwar years (though Tobey of the Big Four tended furthest in that direction).

But, and this is a big «but», I was thrown off sympathising thus by two things: firstly, that Diebenkorn changed tack just when things were getting interesting / challenging in terms of how three - dimensional space in his abstract painting might be tackled anew; and secondly, that the figurative paintings on show here seem to offer no furtherance to, or deliverance from, those issues.»

I believe that it is true, however I would look at it from a different standpoint from Canaday and as a matter of fact that had been noted, the observation that 10th Street lacked a vitality had been noted several years before, you know, by a great number of people, including Clem Greenberg, I think in print he even coined the term Tenth Street Painting as a deneogatory term which would be that it was kind of old hat, because Clem Greenberg's stand of course is that abstract expressionism really lost it's pertinence after the early fifties.

The term Tachisme - derived from the French word «tache» meaning «spot» - describes a type of abstract painting popular in the late 1940s and 1950s characterized by the use of irregular dabs or splotches of colour.

NEW YORK — Helen Frankenthaler, an abstract painter known for her bold, lyrical use of color who led a postwar art movement that would later be termed Color Field painting, died Tuesday at her home in Darien, Conn., her nephew said.

The term Systematic art was coined by Lawrence Alloway in 1966 as a description of the method artists, such as Kenneth Noland, Al Held and Frank Stella, were using for composing abstract paintings.

While this term is often associated with American painting, specifically Abstract Expressionism and Color Field painting, Declaring Space addresses this concept from an international viewpoint, blurring national labels for a set of spatial themes that were evoked in abstract art in the latter half of the twentieth century, where the boundaries of traditional pictorial space were crossed and a new realm of abstract theater was engaged.

It seems (at the risk of making a simplistic checklist) there could be some criteria for abstract painting such as; non literal, integration of the picture plane, even optical pressure (Richard Ward's term in a Brancaster discussion), no false structures, no layering, relationality.

Because Kline sketched and painted this photograph so many times, he acquired such a familiarity with it that he could apparently sketch it blindfolded in less than thirty seconds.39 This skill necessarily involved what Kline had described in 1956 as the process that had led to his breakthrough to abstraction: «breaking down the structure into essential elements».40 In the photograph, the posture of Nijinsky in absolute terms and relative to the frame has a striking structure of a kind that persists in Kline's abstract work, in which there is a tension between the composition internal to the painting and the limits of the canvas.

’49 Even if Kline had not produced his paintings with the speed commonly associated with abstract expressionism, his breakthrough to abstraction was understood in metaphorical terms as a coming - of - age event out of Wagnerian opera — and not only because Kline sometimes listened to Wagner while he worked.

Originally referring to the ecstatic verses created by ancient Greek followers of Dionysus, the term, for him, stands for what the wall texts call «the primacy of the artist's expressive power over the subject» — that is, the nominal subject that triggered the improvisatory process of picture - making loses its original meaning by being translated into this new state of being, since any painting is both abstract and a fiction.

And the only conclusion I can come to from that, it is true that one sees the sunset through the eyes of the painter, and that one learns how to see culturally, [Someone in the studio is banging on metal — very, very loud] and because people have been so used to seeing abstract paintings flatly, in terms of pattern, — that if they come to my painting sympathetically all they want to see is flat pattern because if they say anything else, of course, they wouldn't like the painting and they want to like my paintings so they have to see it flatly.

«Hard - Edge» is a term coined by LA critic Jules Langsner to describe geometric abstract painting of 1960's.

Time Magazine coined the term op art in 1964, in response to Julian Stanczak's show Optical Paintings at the Martha Jackson Gallery, to mean a form of abstract art (specifically non-objective art) that uses optical illusions.

However, given the meltdown in the international contemporary art market, as well as the rise in popularity of traditional painting - as practised by many Eastern European schools - this conceptual / abstract approach may prove to be a long term weakness.

During the mid-1970s, Richter abandoned all traces of representational art and began to create a style of abstract painting completely devoid of subject - matter - a style referred to by the umbrella term «Neo-Expressionism» or sometimes «New Image Paintingpainting completely devoid of subject - matter - a style referred to by the umbrella term «Neo-Expressionism» or sometimes «New Image PaintingPainting».

Interestingly, Feneon also coined the term Tachisme to describe the painting technique of the Impressionists, some 60 years or so before it was re-used by the French art critic Michel Tapie to describe the Tachisme splinter movement which evolved out of abstract expressionism.

NEW YORK — Helen Frankenthaler, an abstract painter known for her bold, lyrical use of color who led a postwar art movement that would later be termed Color Field painting, died Tuesday at her home in Connecticut, her nephew said.

In Europe, the answer was Art Informel, which was an umbrella term for a new style of formless abstract painting.

According to Alicia Longwell, Ph.D., The Lewis B. and Dorothy Cullman Chief Curator at the Parrish Art Museum, who organized the exhibition, «At a time when abstract painting was thought to be the only valid, and valued, way to make art, these two artists began to look at the world around them in terms of how a painting could present a heightened reality and still deal in representational images — each conveying her own authentic response to the natural world.»