Each artist will be represented by multiple paintings including a new series of
tondos by Lenaghan and four pastels by Jacquette.
Not exact matches
From fifteenth - century Madonnas to Robert and Sonia Delaunay's spiritualized formalism, the
tondo format has historically conveyed a cosmic holism, intimating a transcendent space unhampered
by corners or limits.
Indeed, among the highlights are some captivating pieces
by women, such as the
tondo Black and White II (1960)
by Cuban - born New York painter Carmen Herrera, who, at age 100, will be the subject of an upcoming retrospective at the Whitney Museum of American Art.
By 1967, convexity had become the dominant feature in a series of
tondo - shaped paintings made from aluminum and acrylic discs that project out from the wall.
Edward Clark's abstract expressionist
tondo The Big Egg (1968) establishes the artist among the earliest American painters to experiment with oval forms (later explored
by artists like Jasper Johns), while works
by the 1970s black artist collective AfriCOBRA — who operated loosely as the visual arts arm of the Black Arts Movement, and whose influence can be found in the work of Kerry James Marshall and David Hammons — are given prominence.
Characterized
by straight and curving shapes of color and the use of
tondo (round) canvases,
by the 1960s Smith's circular explorations culminated in his shaped, multi-part Constellation series of paintings and drawings, among his most exuberant and inventive compositions.