Sentences with phrase «young painters like»

The «Watercolors «show, curated by Kristin Sancken, Phillips de Pury features 92 watercolors by a diverse group of artists and includes emerging young painters like Willy Bo Richardson, Ben Blatt, Eva Lundsager and Annika Connor as well as such heavyweights of the art world as Eric Fischl.

In contrast to younger painters like Joe Bradley or Oscar Murillo who merely ape a vapid simulacrum of abstract painting's vocabulary, Jensen incorporates a larger and deeper understanding of the history of his chosen style.

The point was taken up by younger painters like Held.

Mr. Winkfield's cryptic symbols and hyped - up color is itself a precedent for the flat representational styles of younger painters like Caitlin Keogh, Derrick Adams and Orion Martin.

His peers were the second - generation followers — «A host of younger painters like myself who were struggling, fighting, full of energy and argument and drive, demanding, assertive, trying to make an original mark.

Resnick's allegiance to the physical properties of paint, its viscosity and «actuality,» was predictive of younger painters like Robert Ryman and Frank Stella.

Not exact matches

Others had stayed, like Karlstadt; and a brilliant young painter, Lucas Cranach had stayed in his service to adorn the interior of the castle.

Like graffiti, the cave paintings must have been tremendously challenging physical work, and, like most graffiti artists, the cave painters must have been young peoLike graffiti, the cave paintings must have been tremendously challenging physical work, and, like most graffiti artists, the cave painters must have been young peolike most graffiti artists, the cave painters must have been young people.

The contemporary collectors who cut their teeth on younger artists are going back to wonderful figurative painters like Neel.

In the mid»70s when I was a young painter trying to find my way in New York, I especially liked visiting an uptown gallery that has since become legendary, the Bykert Gallery at 24 East 81st Street.

We have talked with him about his drive to work from life, the painting challenges that come with diminished vision, how to use the inspiration you get from other painters, and what it was like coming to New York City as a young artist in the nineteen fifties.

Like a lot of younger artists, Shara deeply admires the work of Dana Schutz — a painter who never succumbed to the siren call of «festival art.»

Larry Groff: What lead you to become a painter and what were your early years like as a student and young artist?

In a disconcerting way, he remains relevant by being, like so many younger artists today, not necessarily a painter per se, but an artist who uses painting coincidentally, as one of many other potential mediums available at any time; a phenomenon which in itself would merit its own investigation.

Like many younger painters working with abstraction, Matt Connors (American, b. 1973) engages freely with the histories of his medium without depending upon them.

The departure was short - lived, however, ending when Hoptman returned to the city as a senior curator at the New Museum, bringing in works by painters like Elizabeth Peyton, George Condo, and Tomma Abts while also organizing seminal exhibitions including «Unmonumental: The Object in the 21st Century» — the influential show of provisional - looking sculpture that famously included a lot of paint — and «Younger than Jesus,» the first iteration of the museum's Triennial.

A canvas like Mountain of Heaven, 1961, illustrates how Bearden was indeed an experimenter, but not in the iconoclastic sense of the AbEx group, nor in the Greenbergian formal sense favored by the younger color - field painters.

Dealers like Leo Castelli, Ileana Sonnabend and Mary Boone championed artists such as David Salle and Julian Schnabel, whom critics labeled Neo-Expressionists, and whose style appealed to a growing art market willing to pay large sums of money for young painters.

There is a tendency to overstate traces of influence that declare each painter's generational moment: de Kooning's abrupt calligraphy for an older group like this one; Elizabeth Murray's rounded cutouts for many younger painters.

Then came the 1980s and a generation of young painters, like Julian Schnabel, David Salle, Eric Fischl, Jean - Michel Basquiat and Keith Haring, and everything changed.

The «heroic» moment of abstraction is long gone, and although senior figures like Bridget Riley still command respect, it's easier for most to accept the sceptical squeegee - ing of a Gerhard Richter or a Christopher Wool, while young painters get plaudits for the slightest of chuck - it - at - the - canvas conceits.

Like a lot of people, my fantasy when I was younger was to be the kind of painter that that made big abstract paintings.

Like the young Italian painters, such as Francesco Clemente, Schnabel draws on art history, current events, other cultures and religion for his imagery.

In a letter to a young artist seeking advice, the abstract painter Thomas Nozkowski wrote in 2006, «Recognition, when it comes, sometimes can seem like a misunderstanding.»

The current Chelsea landscape sometimes feels more like a marketplace than a home to creativity, where tourists take art selfies in front of reflective Murakami sculptures, and bright, young painters fetch extravagant sums.

The painter Hope Gangloff specializes in portraits with strong contour lines, jewel - like color and abundant decorative interest — works that have earned her frequent comparisons to Egon Schiele and Gustav Klimt (especially when her subject is a pale young woman with flowing locks and a striated dress, as in the painting above from her current show at Susan Inglett in Chelsea.)

The result is paintings whose vibrating color space, where image and afterimage interact, recall the utopian optical constructivism of painters like Wojciech Fangor, as well as the meticulously Photoshopped, if blithely neutered, color field photography of younger artists like Cory Arcangel.

Bo had come out of the Pennsylvania Academy as a sort of wunderkind, alongside other dedicated young representational painters like Vincent Desiderio and Wade Schuman.

Like Young, Bradford represented his nation at last year's Venice Biennale and, in what was something of a monumental year for the American, unveiled Pickett's Charge, a suitably monumental suite of paintings (collectively measuring more than 100 linear metres) that reinterpreted one of the defining moments of the American Civil War (the subject of an 1883 cyclorama by French painter Paul Philippoteaux, itself reinterpreted in Bradford's work) in a work of cut, torn and scraped layers that reflects on the complexities of history, its interpretation and its impact upon the present sociopolitical climate in the US.

The show opens with a row of portraits from 1980 of Hoffmann, looking radiant and determined, by Andy Warhol, and then jumps back to the beginning, when she was picking up the work of the Belgian avant - garde, whose participants are seen infrequently stateside, like Floris Jespers and Frits van den Berghe, whose punchily colored works here from the 1920s — respectively, a dandyish scene in a cafe with burning red walls and a terrifyingly gigantic floating above a rainbow — look curiously on point with what so many of today's mischievous young figurative painters are up to today.

While it's true that he was a slightly younger contemporary of painters like Julian Schnabel and Francesco Clemente, who were making a mark with figurative works at the beginning of the 1980s, most of the outstanding black painters of the generation preceding Marshall's own — Frank Bowling, Ed Clark, Sam Gilliam, Howardena Pindell, Jack Whitten — were committed abstractionists.

Henrique Faria Fine Art from New York aims to create a dialogue between Latin American midcentury modernist artists like the Brazilian painters Willys de Castro and Judith Lauand; historic conceptual artists like the Argentine asemic writer Mirtha Dermisache; Marisol, a forgotten star of the Pop Art movement; and new works by younger artists from the gallery's stable.

Mauritshuis Royal Picture Gallery, The Hague Opened in 1822, this art museum which specialises in masterpieces from the Dutch Golden Age, has oils by Dutch painters like Jan Vermeer, Rembrandt van Rijn, Jan Steen, Paulus Potter and Frans Hals and works of the German painter Hans Holbein the Younger.

As Matthew Israel writes in the catalogue accompanying the exhibition, «in a moment where abstract painting has definitely returned to prominence — Held's 1950s paintings seem like they could have been made by a current young abstract painter.

Katz» work is said to have influenced many fellow painters, like David Salle, Peter Halley and Richard Prince, in addition to younger artists, like Peter Doig, Julian Opie, Liam Gillick, Elizabeth Peyton, Barb Januszkiewicz, Johan Andersson and Brian Alfred.

New exhibitions introduced audiences to younger painters such as Josephine Halvorson and re-introduced masters like Willem de Kooning, whose retrospective at the Museum of Modern Art remains on view until January 9.

See the excellent first show by Brent Wadden, a young Canadian - born painter who has set aside his brushes and taken up weaving, making thick rug - like abstractions whose jagged, interlocking shapes have the wobble of Op Art except softened by vagaries of color, texture and edge.

This week I would like to encourage you to see a show which opened last night in the West End, featuring the work of a young painter recently graduated from the Royal Academy Schools.

As Matthew Israel writes in the full - color catalogue accompanying the exhibition, «in a moment where abstract painting has definitely returned to prominence — Held's 1950s paintings seem like they could have been made by a current young abstract painter.

The young painter who is still attending high school already has many future plans — he would like to enroll at Kunstakademie in Dusseldorf, which would allow him to learn more about fine art and brush up his already enviable painting skills.

When I was in art school in the late»70s, I saw it begin, but the young painters today, unlike my generation of painters, find it almost impossible to locate truly inspiring contemporary artists for whom painting's meaning can be derived from what a painting looks like.

Like the Jewish Museum's «Primary Structures,» Michael Fried's «Three American Painters,» or even Damien Hirst's «Freeze,» «Pictures» seems less an object of history than of folklore in the minds of those too young to have seen it firsthand.

Like Theodore Robinson (1852 - 96), Twachtman died quite young, and his fellow artists of The Ten American Painters wrote sincere tributes to him which were published in the North American Review in 1903.

But in the late 1870s the most promising young painter from the east of the country, Arthur Melville (1855 — 1904), shared a vision of what painting could be with like - minded counterparts in Glasgow.

More recently, we have the arresting neo-expressionism of Chinese painters like Zhang Xiaogang (b. 1958) and Yue Minjun (b. 1962), landscapes by Peter Doig (b. 1959) and the Ukrainian artist Dmitry Kolujny, the extraordinary «egg» pictures of Alexander Vlasenko, as well as numerous portraits by a range of young painters, including the Irishmen David Nolan (b. 1966) and Conor Walton (b. 1970), among many others.

Snyder: I was somewhat aware of Twombly as a young painter and since then have always liked his work.

Craig - Martin, Michael (b. 1941) Painter and installation artist, senior tutor at Goldsmiths College in London where he exerted a significant influence over members of the Young British Artists group (like Damien Hirst, Tracey Emin, Mat Collishaw and Gary Hume) during the 1980s and 90s.

The newly bicoastal gallery also represents a range of artists from young new - media practitioners like Tabor Robak to provocateurs like Santiago Sierra and good old - fashioned painters like Stanley Whitney, whose 2012 show made Raphael Rubinstein's «Top 10 in Painting» in A.i.A. that year.

Since then it has organized 16 exhibitions ranging from works by leading 20th - century artists like George Grosz and Martin Kippenberger, to younger generation artists such as the painters Oliver Clegg and Adrian Ghenie.

Walking on «Pitch,» it's impossible not to think of how heavily this, and the work of many young like - minded sculptural painters, treads on the legacy of Carl Andre.