Sentences with phrase «toward color field painting»

In the early 1970s, Goodnough began shifting toward Color Field painting, usually executed in acrylic and oil, to which he added his own idiosyncrasies.

And there was also a change in Helen's work at the beginning of the 1960s, moving it toward the Color Field painting with which she would become most associated.

Not exact matches

Color Field painting clearly pointed toward a new direction in American painting, away from abstract expressionism.

These artists are acting like industrious junior postmodernist worker bees, trying to crawl into the body of and imitate the good old days of abstraction, deploying visual signals of Suprematism, color - field painting, minimalism, post-minimalism, Italian Arte Povera, Japanese Mono - ha, process art, modified action painting, all gesturing toward guys like Polke, Richter, Warhol, Wool, Prince, Kippenberger, Albert Oehlen, Wade Guyton, Rudolf Stingel, Sergej Jensen, and Michael Krebber.

Morris Louis's painting Where 1960, was a major innovation that moved abstract expressionist painting forward in a new direction toward Color Field and Minimalism.

Taking issue with Harold Rosenberg (another important champion of Abstract Expressionism), who wrote of the virtues of action painting in his article «American Action Painters» published in the December 1952 issue of ARTnews, [3] Greenberg observed another tendency toward all - over color or Color Field in the works of several of the so - called «first generation» Abstract Expressioncolor or Color Field in the works of several of the so - called «first generation» Abstract ExpressionColor Field in the works of several of the so - called «first generation» Abstract Expressionists.

While my work tends toward the reductive anyway — I refer to my esthetic as «lush minimalism» — each painting in this series is a small color field achieved by layers of translucent paint applied at right angles.

All of them are monochromatic squares filled with a carefully controlled field of differently colored dots, a luminous center slowly dissipating as it moves toward the painting's edges.

Toward the middle of the show is Thompson's «St. George and the Dragon,» a big reprise of Tintoretto's treatment in the National Gallery, London, which turns the image into an abbreviated, still scary cartoon, a Color Field painting gone wildly Classical.

One way viewers might see them as such would be to compare them to the color field paintings of Mark Rothko, or to the monochromes of Yves Klein, interacting with them as aesthetic mediums assisting us toward a personal transcendent experience.

Toward Color Field's decline, not surprisingly, painting was declared dead.