View allAll Photos Tagged AbstractExpression
This piece is a mixed media of watercolor, oil, oil pastel, color pencil and soft pastel done on heavy paper. 22 x 27"
The base photos used here, slightly modified by me of course, were from cell cultures done by Elizabeth Normand here at Brown University. The cells are transfected with proteins that fluoresce if the protein is expressed by the cell and much of the color you see is merely enhanced but not changed.
Oil on wood; 73.5 x 88.8 cm.
“I can imagine an art that would have an innocuous surface where you don’t see anything at all of interest; you wouldn’t dream of looking at it with any idea that it could knock you over or have any power or anything, and then slowly you can begin to read into it all kinds of wonderful, imaginative things that you can see in it, and that could be a very marvelous form of art.” *
Born Rachmiel Resnick in 1917, Milton Resnick spent his childhood in the Ukraine, where he and his family were threatened by anti-Jewish pogroms during the Russian Civil War. The family fled first to Cuba and then to Brooklyn in 1922. He initially studied architectural drafting and lettering at a trade school, but could not find work when he finished school in the midst of the Depression in 1932. The following year, he enrolled in the fine arts program at the American Artist’s School, where he met Ad Reinhardt. In 1937, he met Willem de Kooning, who became a close friend, and in 1938, he joined the WPA. Resnick’s artistic pursuits were interrupted in 1940, when he was drafted into the army. When Resnick returned to New York after his discharge in 1945, he resumed painting and began meeting with de Kooning, Kline, Arshile Gorky, and other artists at the Waldorf Cafeteria for discussions about art and abstraction. From 1946 to 1948, Resnick lived in Paris, where he met Constantin Brancusi, Jean Hélion, and Tristan Tzara. He returned to New York, and in 1949, he was one of the founding members of the Club. That same year, Resnick was supposed to have his first solo exhibition, but the dealer cancelled it, causing a major setback to his career. In 1955, the Poindexter Gallery mounted his debut exhibition, but as a result of this six-year delay, Resnick has often been mislabeled a second-generation abstract expressionist.†
Resnick was a constant presence on the abstract expressionism scene, despite his ambivalence about being called an abstract expressionist. In 1951, he participated in the Ninth Street Show; his work was exhibited at the Stable Gallery; and in 1957, the Whitney Museum and the Jewish Museum selected his work for inclusion in the 1957 Annual Exhibition and Artists of the New York School, respectively. In 1959, he began to increase the scale of his work, creating massive paintings of small, thick gestures that covered the wall-sized canvases, forming a composition of all-over abstraction. Two years later, he started work on his famous New Bride (1961-1963), an abstraction of thick white impasto, with flecks of pale color, painted on a nine-by-seventeen-foot canvas. It took Resnick two years to build up the surface of the painting, and this became the first of the impasto monochromes for which he is best known.
Resnick continued to work in an abstract style until the late 1980s, when he started creating a series of gouaches featuring simplified human forms suspended in a field of brushstrokes and color. These isolated, abstracted figures continued in his art of the 1990s. Painted in acrylic and oil in addition to gouache, these figures are often alone, and even when Resnick painted them in pairs, each figure remains isolated, close to but unable to make contact with the other. From 2001 until his death in 2004, Resnick created his “X-Space” paintings, exploring the relationship between color, line, and space from a variety of angles. Regardless of the scale of his paintings or their degree of abstraction, Resnick’s gestural brushstrokes and his fascination with the textural and spatial aspects of art remained constant throughout his life.
* Geoffrey Dorfman, "Milton Resnick: In Memoriam," artcritical.com, March 2005 (accessed March 2009).
† David Cohen, “Milton Resnick Was an AbEx Pioneer,” New York Sun, May 29, 2008. www.nysun.com/arts/milton-resnick-was-an-abex-pioneer/78823/ (accessed February 2009).
#worksonpaper #arte #malerei #abstractexpressionism #pintura #lyricalabstraction #fineart #modernpainting #abstractpaintings #kunstwerk #abstrakt #abstraktekunst #nataliedavydova #nonobjectiveart #contemporaryart #contemporarypainting #paintings #artcollector #abstractart #smallpaintings #peinture #pittura #acryliconpaper #livewithart #artwatcher #modernart #artwork #markmaking #abstractpainting #arts
Polymer clay focal bead surrounded by hand beaded bezel with a suede backing. Cording made from sari silk with added beads.
Robert Delaunay was a French painter who first introduced vibrant color into Cubism and thereby originated the trend in Cubist painting known as Orphism. He was one of the earliest completely nonrepresentational painters, and his work affected the development of abstract art based on the compositional tensions created by juxtaposed planes of color.
Delaunay was at first a theatre designer and painted only part-time. But he soon came under the influence of the Neo-Impressionists’ use of colour. By 1910 he had made his own contribution to Cubism in two series of paintings, cathedrals and the “Eiffel Tower,” which combined fragmented Cubist form with dynamic movement and vibrant colour. This new and individual use of pictorial rhythms and colour harmonies had an immediate appeal to the senses and, combined with poetic subject matter, distinguished him from the more orthodox Cubist painters. His Orphic style, adopted also by his wife, the painter Sonia Terk Delaunay (1885–1979), had an immediate influence on the work of Der Blaue Reiter (The Blue Rider), a Munich-based group of Expressionist painters.
Two years later he found his way toward completely nonobjective painting when he made his “Colour Disks” and “Windows” series of paintings. Together with his wife, Delaunay worked on large and impressive abstract mural decorations for the Paris Exposition of 1937. Delaunay continued to paint works that restated his Orphic theories.
"The Act of Painting, Intuition (Works on paper)" traveling exhibition
Takarazuka Arts Center, Cube Hall
2021.09.10-12
"The Act of Painting, 直感 (紙作品)" 巡回展
宝塚市立文化芸術センター キューブホール
2021.09.10-12
takarazuka-arts-center.jp/wordpress/2021/08/05/20210910_1...
展覧会：加藤義夫芸術計画室 × TAOP
INTUITION！ Works On Paper
直感 紙の作品
会期：2021年9月10日（金）～12日（日）10:00～18:00 ※最終日は15:00まで。
会場：宝塚市立文化芸術センター 1階キューブホール
入場料：無料
主催：加藤義夫芸術計画室 × TAOP
展覧会に関するお問い合わせ：
【The Act Of Painting】https://www.theactofpainting.com/
【日本お問い合わせ】mail@mayakonakamura.jp（中村）
関連事業 （センター共催）：
★ワークショップ★
からだを使って色と遊ぼう！
◆日時：9月11日（土）A13:00～14:00 B15:00～16:00
◆参加料：無料
◆定員：各5名
A-1 絵具を流して描いてみよう 13:00～14:00
A-2 まるをいっぱい描いてみよう 13:00～14:00
B-1 手足を筆にして描いてみよう 15:00～16:00
B-2 絵具を飛ばして描いてみよう 15:00～16:00
◆対象年齢：小学校1～6年生
※汚れてもよい服装でお越しください。
※手や足を洗った後に拭くタオルをご持参ください。
◆会場：1階キューブホール
◆講師：柴田知佳子・中村眞弥子
ワークショップ申込方法★以下の2つの方法で受付★
※受付開始は 8月31日（火）10:00～
【宝塚市立文化芸術センター】
●電話：0797-62-6800
※電話受付は10:00-18:00、水曜日（休館日）を除く
●メール：event@takarazuka-arts-center.jp
※以下の件名・情報をご記載の上、送信ください
【件名】TAOPイベント申し込み
【本文】①氏名、②ワークショップ番号（A-1、A-2、B-1、B-2）、③ご連絡先、④宝塚市立文化芸術センターの個人情報の取り扱いに同意する
※同じ時間（A-1とA-2など）の同時参加は不可です。
※AとBの連続参加は可能です。
★アーティストトーク★
加藤義夫×柴田知佳子×中村眞弥子◆日時：9月12日（日）13:00～14:00
◆定員：先着30名（申込不要）
◆参加料：無料
◆会場：1階キューブホール
※ライブ配信を行うため、会場の撮影を行います。あらかじめご了承ください。
主催：加藤義夫芸術計画室 × TAOP
共催：宝塚市立文化芸術センター
関連事業に関するお問い合わせ：宝塚市立文化芸術センター [指定管理者：宝塚みらい創造ファクトリー]
TEL：0797-62-6800
MAIL：info@takarazuka-arts-center.jp
Oil on canvas; 40.9 x 30.5 cm.
Tamara de Lempicka (aka Maria Gorska) was a Polish painter known for the “soft cubism” by which she epitomized the sensual side of the Art Deco movement (her renderings of stylishly sexy, bedroom-eyed women remain unmatched to this day). Tamara attended boarding school in Lausanne, Switzerland before moving to St. Petersburg, Russia (where she experienced the Bolshevik Revolution)— then on to her own bohemian twenties in Paris during the Roaring 20s, where she quickly became the most fashionable portrait painter of her generation (especially among the haute bourgeoisie and aristocracy who both criticized and admired her “perverse Ingrism.”)