View allAll Photos Tagged AbstractExpression
Gerhard Richter is a German artist. He had his first solo show in 1964 at Galerie Schmela in Düsseldorf. Soon after, he had exhibitions in Munich and Berlin and by the early 1970s exhibited frequently throughout Europe and the United States. His fourth retrospective, Gerhard Richter: 40 Years of Painting, opened at New York's Museum of Modern Art in February 2002. Although Richter gained popularity and critical praise throughout his career, his fame burgeoned during his 2005 retrospective exhibition, which declared his place among the most important artists of the 20th century. Today, many call Gerhard Richter the best living painter.
Inspired by the abstract work of Wilhelmina Barnes-Graham, one of my favourite artists. We are lucky enough to have one of her prints in our living-room.
All these were created in camera this morning.
Copyright Stan Farrow FRPS. Not to be copied without permission,
Oil on canvas; 80 x 161.5 cm.
Italian painter, printmaker and illustrator. He studied at the Accademia di Belle Arti, Venice, and emerged from his early training into a Post-Impressionist milieu. During the first phase of his career, two of his most significant influences were Italian artists of the previous generation: the painter Pio Semeghini (1878-1964) and the sculptor Medardo Rosso. By 1936 he had become interested in the work of van Gogh, and the following year he traveled to Amsterdam. In 1939 he visited Paris, where he was able to study at first hand the works of Braque and Matisse. Composition with Figure (1939; Rome, G.N.A. Mod.) is a mature work of the early figurative phase and represents a synthesis of Santomaso's early influences.
Die Kunstwerke von Martin GRUNEBERG sind exklusiv erhältlich bei
ARTE DEL MONDO www.arte-del-mondo.de
Gerne beantworten wir Ihre Fragen zum Kunstwerk.
Bitte schreiben Sie uns unter shop@arte-del-mondo.de.
Besuchen Sie uns auch auf
INSTAGRAM @arte-del-mondo.de
Bitte sehen Sie sich auch die Kunstwerke an von
Otto FRÜHWACH
Toshima HAYASHI
Ziggy M. BROOKS
Pavel POLIAKOV
Eric Sven LARSGAARD
Angelo MONTESALVINI
Jackson CUSHMAN
Gus ANDERSON
Wir freuen uns auf Sie !
ARTE DEL MONDO www.arte-del-mondo.de
The artworks of Martin GRUNEBERG are exclusively available at
ARTE DEL MONDO www.arte-del-mondo.de
We are happy to answer your questions about the artwork.
Please write to us at shop@arte-del-mondo.de.
You can also visit us on
INSTAGRAM @arte-del-mondo.de
Please also have a look at the artworks by
Otto FRÜHWACH
Toshima HAYASHI
Ziggy M. BROOKS
Pavel POLIAKOV
Eric Sven LARSGAARD
Angelo MONTESALVINI
Jackson CUSHMAN
Gus ANDERSON
We look forward to seeing you !
ARTE DEL MONDO www.arte-del-mondo.de
Last night I saw a phenomenal exhibit at London's Tate Modern... a retrospective of the grandfather of the American Abstract Expressionism - Arshile Gorky, a tragic man, fighting demons stemming from his Armenian origins.
The Sailboat (1968)
Oil on canvas
h: 46 x w: 56 in
Courtesy of Spanierman Modern, New York
www.easthamptonstar.com/dnn/Archive/Home20081225/Arts/Gre...
Oil on wood and glass; 193 x 165 cm.
Lucio Fontana was an Italian/Argentine painter and sculptor. He was mostly known as the founder of Spatialism and his ties to Arte Povera. Born in Rosario, province of Santa Fe, Argentina of Italian parents, Fontana spent the first years of his life in Italy and came back to Argentina in 1905, where he stayed until 1922, working as a sculptor along with his father, and then on his own.
In 1927 he returned to Italy and studied under the sculptor Adolfo Wildt, and there he presented his first exhibition in 1930, organized by the Milano art gallery Il Milione. During the following decade he journeyed Italy and France, working with abstract and expressionist painters. In 1935 he joined the association Abstraction-Création in Paris and from 1936 to 1949 made expressionist sculptures in ceramic and bronze.
In 1940 he returned to Argentina. In Buenos Aires (1946) he founded the Altamira academy together with some of his students, and made public the White Manifesto, where he states that "Matter, color and sound in motion are the phenomena whose simultaneous development makes up the new art". Back in Milano in 1947, he supported, along with writers and philosophers, the first manifesto of spatialism (Spazialismo)**. He also resumed his ceramics works in Albisola.
From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings, drawing a sign of what he named "an art for the Space Age". In 1948 Fontana experimented the use of neon lighting with "Ambiente spaziale a luce nera" (Galleria del Naviglio, Milan). He then created an elaborate neon ceiling called "Luce spaziale" in 1951 for the Triennale in Milan. In 1959 he exhibited cut-off paintings with multiple combinable elements (he named the sets quanta). He participated in the Bienal de São Paulo and in numerous exhibitions in Europe (including London and Paris) and Asia, as well as New York.
Shortly before his death he was present at the "Destruction Art, Destroy to Create" demonstration at the Finch College Museum of New York. Then he left his home in Milano and went to Comabbio (in the province of Varese, Italy), his family's mother town, where he died in 1968.
Born in Montreal, Guston attended high school in Los Angeles, where he befriended Jackson Pollock. At an age when the latter displayed little more than a talent for teenage rebellion, Guston was already a fine draughtsman. (He later taught a freshman drawing class at New York University.)
Following a sojourn in Italy, Guston adopted a mode of gestural abstract painting—dubbed Abstract Impressionism—in which blurry planes and shapes float in a field of crosshatched brushstrokes. At first glance Guston’s mid-career abstractions, such as this one, appear somewhat pastoral, but in retrospect they reveal an anxiety that emerges, full throttle, in his late, cartoon-like depictions of hooded Klansmen, bare light bulbs, cyclopean eyes, and dispossessed shoes."
Untitled (50-23), ca. early 1950s
Mixed media on paper
15 x 21 inches
Courtesy of Spanierman Modern, New York
Joan Mitchell was an abstract expressionist who played with the big boys. Her canvases are large and often had a wet quality that I enjoy. With this video (edit) I was trying to capture this quality. Playing at full screen is more the look I wanted.
To see the full video follow this link.
Aleksander Mikhailovich Rodchenko was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova.
Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."
Born in Montreal, Guston attended high school in Los Angeles, where he befriended Jackson Pollock. At an age when the latter displayed little more than a talent for teenage rebellion, Guston was already a fine draughtsman. (He later taught a freshman drawing class at New York University.)
Following a sojourn in Italy, Guston adopted a mode of gestural abstract painting—dubbed Abstract Impressionism—in which blurry planes and shapes float in a field of crosshatched brushstrokes. At first glance Guston’s mid-career abstractions, such as this one, appear somewhat pastoral, but in retrospect they reveal an anxiety that emerges, full throttle, in his late, cartoon-like depictions of hooded Klansmen, bare light bulbs, cyclopean eyes, and dispossessed shoes."
Oil on canvas; 115 x 65.5 cm.
Birolli was born at Verona to a family of industrial workers. In 1923 he moved to Milan where he formed an avanguardist group with other artists such as Renato Guttuso, Giacomo Manzù and Aligi Sassu. In 1937 he was a member of the artistical movement called Corrente. in the same year he was arrested by the Fascist government: in the following years he largely left the painting activity to devote himself to the Communist propaganda and, later, to the support of the partisan resistance.
After World War II, in 1947, Birolli moved to Paris. Here his painting style changed swiftly under the influences of Henri Matisse and Pablo Picasso, moving first to a post-Cubist position and then to a somehow abstract form of lyrism.
He died suddenly at Milan in 1959.
Eugène Henri Paul Gauguin (French: [øʒɛn ɑ̃ʁi pol ɡoɡɛ̃]; 7 June 1848 – 8 May 1903) was a leading French Post-Impressionist artist who was not well appreciated until after his death. Gauguin was later recognized for his experimental use of colors and synthetist style that were distinguishably different from Impressionism. His work was influential to the French avant-garde and many modern artists, such as Pablo Picasso and Henri Matisse. Gauguin’s art became popular after his death and many of his paintings were in the possession of Russian collector Sergei Shchukin.[1] He was an important figure in the Symbolist movement as a painter, sculptor, print-maker, ceramist, and writer. His bold experimentation with coloring led directly to the Synthetist style of modern art, while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential proponent of wood engraving and woodcuts as art forms.[2][3]
en.wikipedia.org/wiki/Paul_Gauguin
Gauguin is very well known for his post impressionist and primitivist paintings. This piece is unique for him. Way ahead of its time.
All based on images of the curved concrete staircase at the base of the new Tate Modern Tower in London. All are double exposures created in a process that also involves split-toning and adding a layer of texture. A lot of experimentation went on here today.
All images copyright Stan Farrow FRPS. Not to be copied without permission.
Jackson Pollock, Autumn Rhythm (Number 30), 1950, enamel on canvas, 266.7 × 525.8 cm (The Metropolitan Museum of Art), © The Pollock-Krasner Foundation
Jackson Pollock, Autumn Rhythm (Number 30), 1950, enamel on canvas, 266.7 × 525.8 cm (The Metropolitan Museum of Art), © The Pollock-Krasner Foundation
Jasper Johns, Jr. (born May 15, 1930) is an American contemporary artist who works primarily in painting and printmaking.
Johns is best known for his painting Flag (1954–55), which he painted after having a dream of the American flag. His work is often described as a Neo-Dadaist, as opposed to pop art, even though his subject matter often includes images and objects from popular culture.[citation needed] Still, many compilations on pop art include Jasper Johns as a pop artist because of his artistic use of classical iconography.
Early works were composed using simple schema such as flags, maps, targets, letters and numbers. Johns' treatment of the surface is often lush and painterly; he is famous for incorporating such media as encaustic and plaster relief in his paintings. Johns played with and presented opposites, contradictions, paradoxes, and ironies, much like Marcel Duchamp (who was associated with the Dada movement). Johns also produces intaglio prints, sculptures and lithographs with similar motifs.
Johns' breakthrough move, which was to inform much later work by others, was to appropriate popular iconography for painting, thus allowing a set of familiar associations to answer the need for subject. Though the Abstract Expressionists disdained subject matter, it could be argued that in the end, they had simply changed subjects. Johns neutralized the subject, so that something like a pure painted surface could declare itself. For twenty years after Johns painted Flag, the surface could suffice – for example, in Andy Warhol's silkscreens, or in Robert Irwin's illuminated ambient works.
Abstract Expressionist figures like Jackson Pollock and Willem de Kooning subscribed to the concept of a macho "artist hero," and their paintings are indexical in that they stand effectively as a signature on canvas. In contrast, Neo-Dadaists like Johns and Rauschenberg seemed preoccupied with a lessening of the reliance of their art on indexical qualities, seeking instead to create meaning solely through the use of conventional symbols. Some have interpreted this as a rejection of the hallowed individualism of the Abstract Expressionists. Their works also imply symbols existing outside of any referential context. Johns' Flag, for instance, is primarily a visual object, divorced from its symbolic connotations and reduced to something in-itself.
Percy Wyndham Lewis was an English painter and author. He was a co-founder of the Vorticist movement in art, and edited the literary magazine of the Vorticists, BLAST.
In the years 1913-15 that he developed the style of geometric abstraction for which he is best known today, a style which his friend Ezra Pound dubbed "Vorticism". Lewis found the strong structure of Cubist painting appealing, but said it did not seem "alive" compared to Futurist art, which, conversely, lacked structure. Vorticism combined the two movements in a strikingly dramatic critique of modernity.
Jackson Pollock, Autumn Rhythm (Number 30), 1950, enamel on canvas, 266.7 × 525.8 cm (The Metropolitan Museum of Art), © The Pollock-Krasner Foundation
Dutch painter, theorist and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of DE STIJL, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title NEO-PLASTICISM. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and color, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most modern art. His artistic integrity caused him to be honored as a classical master by artists who were aligned with entirely different styles, as well as by musicians and architects. He was able to make a living from the sale of his works in the Netherlands, Germany, Switzerland, England and the USA.
I love this painting. It's endlessly thought provoking.
Untitled (2009)
Mixed media on paper
27.5 by 38 in.
Courtesy of Lohin-Geduld Gallery, New York
www.artnet.com/gallery/423885474/lohin-geduld-gallery.htm... Carone