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Pierre Soulages (1919-2022) - Painting 89x130 cm, 23 janvier 1954 (1954). In the collection of the Calouste Gulbenkian Foundation, Lisbon.
Soulages passed away on 26 October 2022, two months short of his 103rd birthday.
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.
Polymer clay focal bead surrounded by hand beaded bezel with a suede backing. Cording made from sari silk with added beads.
my 5th graders did these sweet portraits and i'm so proud of them. these are GIANT (24 x 36) and the display in the hall is outstanding (i think so anyway). i am so happy that they really got the whole concept and ran w/ it. they are a bit nuts this time of year and have their own version of "senioritis" so it's nice when they actually do well on something. i might post some of these individually since the collage cropped some of the goodness away.
Oil on linen; 99.6 X 76.5 cm.
Kenzo Okada (岡田 謙三 "Okada Kenzō" September 28, 1902 – July 25, 1982) was a Japanese-born American painter and the first Japanese-American artist to work in the abstract expressionist style and receive international acclaim.[1]
According to Michelle Stuart, “when Okada came to the United States he was already a mature painter, well considered in his native Japan. To American abstraction Okada brought civilized restraint, an elegance of device and an unusual gift for poetic transmutation of natural forms.”
Kenzo Okada was born September 28, 1902 in Yokohama, Japan. His father, a wealthy industrialist, did not support his son's desire to be an artist. When his father died, Okada entered the department of Western painting at Tokyo School of Fine Arts,[1] called today Tokyo National University of Fine Arts and Music, but in 1924 left for France where he studied with fellow Japanese expatriate Tsugouharu Foujita, executing paintings of urban subjects. In 1927, he exhibited work in the Salon d'Automne. In the same year, he returned to Japan and within a year he had his first one-person show at the Mitsukoshi Department Store in Tokyo. His success continued with a prize in 1936 from the Japanese contemporary artist group Nikakai Group, of which he went on to become a lifetime member. He taught at the School of Fine Arts, Nippon University from 1940 to 1944, but was evacuated to Mori village in the Miyagi Prefecture, later returning to Tokyo to teach at the Musashino Art Institute.[1]
A realist painter in Japan, in 1950 he moved to New York City, where he produced abstract paintings. Undoubtedly stimulated by Abstract Expressionism, these paintings nevertheless display a strong Japanese sensibility and feeling for form. His paintings from the 1950s reveal subtle changes in the natural world through the use of imagery constructed with delicate, sensitive color tonalities, floating within the compositional space. In 1953 he began to exhibit his abstract expressionist paintings with the Betty Parsons Gallery in New York City.
During the 1970s he painted numerous works that used as a point of departure the reinterpretation of the decorative effects of traditional Japanese painting.
Okada evokes the aura of landscape by using earth colors, abstract patterns hinting at rocks and flowers, and an overall haziness that makes his scenes look submerged in water. Bringing an Asian sensitivity to the New York School of abstraction, Okada distills the essence of nature into his painting, making it seem elemental and thus sublime. Okada became friends with Mark Rothko and many other abstract expressionists, especially the early color field painters. His sensitive and personal style of abstract expressionism, with his Asian roots, relates directly to both color field painting and lyrical abstraction.
Okada died in Tokyo July 24, 1982
Oil on canvas; 30 x 35 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Untitled (1954)
Oil on linen
38.5 x 45
Yvonne Thomas had early training at the Hans Hoffman School of Art and the Art Students League among others.The Hoffman influence is not hard to see but she brought an energetic lyricism and subtle balance of color values that were hers alone.
www.artnet.com/Galleries/Artwork_Detail.asp?G=&gid=42...
Permission to use this image graciously granted by Lohin Geduld Gallery, New York, NY
www.aspentimes.com/article/20090904/OBITUARIES/909049988/...
Abstract composition in white, black and grey on brown (Subway Series). New York, July 15, 2015. Photo by Alecsey Boldeskul.
From my Mud images Dec 7 2016
Rise… You need no starships you have no fees to pay. Sit back close your eyes and dream away. The places you travel to are beautiful and incredible. New colors and sounds you can touch and feel. You have no rules for how far form home you can go. Emotions are deep and vast. Let doors open to a world only you can see. Be free as any child who pass beyond imagination. No more gravity holding you down. Dream at the speed of light like a great ship on a celestial flight. Lets go and fly into a would of a thousand sunsets. Be alive and awake to the new dreams you can have. See rainbows through fresh new eyes.
I began this Mud set about 17 years ago. I have made over 50 to date. Last night I was looking at them and said to my self can I do more. I do enjoy the place they take me to. It is a world far form here. What if a dreamer could explore any place for real by the dreams they have. So after about 16 hours now this is what I found in front of me. I hope you enjoy it.
Mike
MUD SET:
www.flickr.com/photos/patnode-rainbowman/albums/721576455...
The Mud
Images and Commentary
By Michael E. Patnode
Introduction
The “MUD” project began several months after my son Albert J. Patnode was born. A.J. came in to my life to change every thing I understand about life. born Dec. 17, 1998 at 36 weeks gestation. He weighed 3.7lbs. He is a kid of special needs. He was born with broken femurs although he was born by cecearian. He has scoliosis of the back. His legs do not move and his right arm is flaccid, the left arm has limited range of motion. He eats by a gastronomy tube in his tummy and cant swallow. He has a tracheostimy in his neck to breath threw CPAP, a ventilation device although AJ breathes on his own, this gives him a fuller breath so he can maintain his oxygen saturation. He’s extremely nearsighted and what he truly sees we just don’t really know. We have 16 hours of nursing care a day to help us with his many cares. AJ is a wonderful inspiration to my wife and I and we are very honored and thankful to be his parents.
It was on a spring night 1999 that I was pawing over some old zip disks to see if I could find unusual looking images to entertain and stimulate my young sons mind. I rediscovered this image file of the old dried mud bed. During college I scanned the original 3x5 photograph at 100 DPI. At that time was all I needed but consequently; I never did use it in a project. Its data stayed on the zip disk until that spring night. I thought it might make a nice visual picture for A.J. to investigate. I began to play with it by adjusting the color and contrast and after some time, I flipped the image over in a mirror reflection of it’s self, I saw for the first time more than textures. I started to flip-flop the image over and over on itself like a kaleidoscope. I began to see more interesting looking shapes, patterns and faces, jump out at me. I didn’t really think too much of it. I’ve seen lots of kaleidoscope images before. Other than something fun to hang on my little sons mobile it was not something I thought I would continue working with.
Strangely a few days later a college friend of mine Susan Spong a photographer wanted me to show some recent work of mine at S.P.E.- the society for photographic education North West conference in Bellingham Washington. I told her I hadn’t been making any serious photographs or art since my son’s birth. She told me to get busy and make some because she was signing me up to be a guest speaker. I would be part of a panel of alumni students from Central Washington University. She was determined not to let me back out. I only had a few weeks to be ready for the conference. I decided to continue to explore with this mud image. As I did I found I could make a few more pieces before the conference. I only showed four mud images and my thesis project from 1998. To my pleasant surprise many of the people I talked to really enjoyed what they could see in the images. One of my professors, John Agars who was there enjoyed it so much he suggested that, I should make an entire show of this work. Although I knew deep inside myself that at the low DPI resolution the work wouldn’t be able to become large prints as I would have like to have. The worst part was that somehow over the years I had lost the original negatives. I knew I could not restart this project. I decided to work with what I had and consider the work to be about small images and then see where it would take me. I also remembered that the photographer Jerry Uelsmann once said at a conference I had attended. “That many artists never study one image long enough”.
I started having all sorts of interesting dreams and fantasies about what this new mud imagery could be. The work kept pulling me in further to a different kind of world. I began to wonder how many things could come from this one image? I continually kept getting the feeling of carved stone from an ancient time or futuristic alien world. Some of what I’ve developed seems familiar although, most of the imagery is oddly unique and the possibilities are entirely open-ended in each image. Every time that I look at one of the mud images I find new faces, shapes and elements. I have never seen before and this has given me the drive to make more. Sometimes I have felt like someone combing a beach to find interesting sticks rocks and shells.
Some shapes became the framework to hold other more complex images into place. Those images would be made from many layers piled upon each other that eventually became. (Depending on how close or faraway I would get to the image). Objects or faces. Most of the images have images inside images inside images and so on. Some days I have thought maybe I was building the world’s biggest Rorschach inkblot tests. Often I would forget where I was working at in the image itself, if I would put something away and not get back to it for a length of time. I decided to make more images after my initial first four. I gave myself a few small but flexible rules to follow. I thought working in a cautious and conservative way by planning to only use what I could find confined within the original mud image. I would build a new image from only this one palate and no other. I have pasted pieces and parts I liked into a given place. I then would erase parts to revel hidden things that would then be come the new part or image. At one point or another I decided that letting a little bit of foreign color sneak into some of the images might be okay if I only used it minimally. This can be seen in a stranger’s relic, commitment to vision, white moth, and the Wall.
I hope that my son A.J. has enjoyed viewing my mud manipulation images. I also hope that others can find great curiosity, fantasy, enjoyment and a small escaped from reality from my collection of mud.
In this collection of artwork I have been making new altered images from one parent photograph of a dried mud bed. It has become the pallet in which I have explored and manipulated over 40 images into a new vision of my own unique tapestry. To manipulate the images I have used Adobe Photoshop 4.0 On a Macintosh Performa Power PC 6400/200. my old Macintosh. 2.5 GIG and 100 MG of Ram. so small unlike my new Mac.
I originally photographed the mud in 1988 on the border of Arizona and New Mexico from an Indian Cliff dwelling site.
All rights reserved. No part of this publication may be reproduced or used in any form or by any means-electronic or photocopying without written permission from Michael Patnode
For information and questions write to me at Flickrmail. thanks so much.
Untitled (1960)
Oil on paper
17 by 13.8 in.
Biographical info from the New York Times:
www.nytimes.com/2008/01/04/arts/04goldberg.html
Courtesy of McCormick Gallery, Chicago