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Acrylic on cellotex.
Alberto Burri was an Italian abstract painter and sculptor. Città di Castello has memorialized him with a large permanent museum of his works. He earned a medical degree in 1940 from the University of Perugia and was a military physician during World War II. After his unit was captured in North Africa, he was interned in a prisoner-of-war camp in Hereford, Texas in 1944, where he began to paint. After his release in 1946, Burri moved to Rome; his first solo show was at the Galleria La Margherita in 1947.
Burri soon turned to abstraction and unorthodox materials, making collages with pumice, tar, and burlap, and started a series of canvases that bulged into the 3rd dimension. His work is related to European Tachisme, American Abstract expressionism, and Lyrical Abstraction. In the mid-1950s, Burri began producing charred wood and burlap works, then welded iron sheets. In the early 1960s he was burning plastic, and in the early 1970s started his "cracked" paintings, or cretti. He created a series of works in the industrial material, Cellotex, from 1979 through the 1990s.
In the 1980s, Burri created a form of land art project on the town of Gibellina in Sicily. The town was abandoned following an earthquake in 1968, with the inhabitants being rehoused in a newly built town 18 km away. Burri covered most of the old town, an area roughly 300 metres by 400 metres, with white concrete. He called this the Grande Cretto.
Burri was awarded the Italian Order of Merit in 1994.
gray art,abstract oil painting,Interior decoration, Storm landscape, Wall Art, Wall Decor,Contemporary Art
Overview:
Handmade item
Height: 100 Centimeters
Width: 100 Centimeters
Material: canvas
$800.00 (On Sale)
www.etsy.com/listing/632435364/gray-artabstract-oil-paint...
Oil on canvas; 200 x 180 cm.
Gerhard Richter (born 9 February 1932) is a German visual artist and one of the pioneers of the New European Painting that emerged in the second half of the twentieth century. Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces. His art follows the examples of Picasso and Jean Arp in undermining the concept of the artist's obligation to maintain a single cohesive style.
In October 2012, Richter's Abstraktes Bild set an auction record price for a painting by a living artist at £21 million ($34 million).[1] This was exceeded in May 2013 when his 1968 piece Domplatz, Mailand (Cathedral square, Milan) was sold for $37.1 million (£24.4 million) in New York.[2] This was further exceeded in February 2014 when his painting Abstraktes Bild sold for £30.4 million in London at Sotheby's Contemporary Evening Sale.[3]
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).
ABSTRACT COMPOSITION OF SEPTEMBER 21, 2015 FROM MADISON SERIES. NEW YORK, SEPTEMBER 21, 2015. PHOTO BY ALECSEY BOLDESKUL.
Collective artistic expression in public space. July 1, 2015. Photo by Alecsey Boldeskul.
Whose art is this anyway? Who can claim copyright of a collective artistic expression when unrelated participants alter same space over and over again!
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