Like Pollock, he had to work through Surrealism before he could combine gesture and all - over composition, much as Rothko in 1949 worked
through urban realism before he could combine geometry with inner space.
Not exact matches
Beginning with the black and white lithographs that were popularized by the regionalists and
urban realists, and continuing
through the experimental intaglio prints of the 1940s and 1950s, the «Pop» explosion of screenprints in the 1960s, and the precision of super
realism in the 1970s, printmaking has captured the imagination of countless American artists.
The Affichistes Pioneers of new
realism, early pop artists, street art trailblazers — on their rambles
through postwar Paris, the artists who would become known as the Affichistes collected fragments of the weathered and tattered posters, they came across that were often peeling and several layers deep, carried them back to their studios and created original artworks from them, in doing so elevating this ubiquitous aspect of everyday
urban life to the status of a fine art.
The show features more than 40 original fine art prints including lithographs and etchings that chronicle daily life — the bustle of
urban streets, boisterous moments of leisure, modern modes of transportation, and bucolic rural images — by leading artists who approached their subject matter
through the lens of
realism: George Bellows (1882 - 1925), Thomas Hart Benton (1889 - 1975), Edward Hopper (1882 - 1967), Martin Lewis (1881 - 1962), Reginald Marsh (1898 - 1954), John Sloan (1871 - 1951), Benton Murdoch Spruance (1904 - 1967), Stow Wengenroth (1906 - 1978), and Grant Wood (1891 - 1942).
This was a decade like no other that saw them search for an elusive «Americanness»
through realism, populism and abstraction, rural and
urban themes, the farm, the new, the traditional.