View allAll Photos Tagged abstractexpression
Haven't painted in awhile; these are older works, but ones I'm very proud of. Abstract Expressionism...my favorite school of art and my favorite way to paint. Going to get back into it soon in addition to my photography.
.
My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
Gotham News, 1955
oil on canvas
69 ½ x 79 ¾ inches
© 2009 The Willem de Kooning Foundation/ Artists Rights Society, New York
Willem de Kooning, born in Rotterdam Holland, received early training at the academy in Rotterdam primarily in what was referred to as applied art. Here he learned the craft of building displays for department stores, poster design, illustration, lettering and other commercial applications.
Coming to the US in 1926 and moving to Manhattan in 1927 he met artists Arshile Gorky and John Graham both of whom were to become his biggest supporters and influences in his new artistic milieu.
While his most recognizable signature works were strong and violent abstractions of women he quite often created in the realm of pure abstraction with no subject matter other than his paint and the fertile impressions of his cavernous collective unconscious. Gotham News is one of the latter.
Permission to post this image generously given by the Willem de Kooning Foundation/Artists Rights Society and the Albright-Knox Gallery.
Abstraction Black and White I
ca. 1955
Graphite and eraser on cream paper, 22-5/8 x 28-9/16
Courtesy of Spanierman Modern, New York
Shown is Helen Frankenthaler, Blue Reach. She died today aged 83. I saw this marvelous painting of hers in Miami just a few weeks ago at Art Basel/Miami Beach. Note the price tag (below). It's probably twice that now.
news.yahoo.com/abstract-painter-helen-frankenthaler-dies-...
Jackson Pollock
American, 1912-1956
One: Number 31, 1950, 1950
Oil and enamel on unprimed canvas, 8' 10" x 17' 5 5/8"
Sidney and Harriet Janis Collection Fund (by exchange)
Gallery label text, 2006:
This is one of three wallsize paintings that Pollock realized in swift succession in the summer and autumn of 1950. In 1947, Pollock began laying canvas on the floor and pouring, dribbling, and flicking enamel paint onto the surface, sometimes straight from the can, or with sticks and stiffened brushes. The density of interlacing liquid threads of paint is balanced and offset by puddles of muted colors and by allover spattering. The pictorial result of this tension is a landmark in the history of Abstract Expressionism.
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 194:
One is a masterpiece of the "drip," or pouring, technique, the radical method that Pollock contributed to Abstract Expressionism. Moving around an expanse of canvas laid on the floor, Pollock would fling and pour ropes of paint across the surface. One is among the largest of his works that bear evidence of these dynamic gestures. The canvas pulses with energy: strings and skeins of enamel, some matte, some glossy, weave and run, an intricate web of tans, blues, and grays lashed through with black and white. The way the paint lies on the canvas can suggest speed and force, and the image as a whole is dense and lushyet its details have a lacelike filigree, a delicacy, a lyricism.
The Surrealists' embrace of accident as a way to bypass the conscious mind sparked Pollock's experiments with the chance effects of gravity and momentum on falling paint. Yet although works like One have neither a single point of focus nor any obvious repetition or pattern, they sustain a sense of underlying order. This and the physicality of Pollock's method have led to comparisons of his process with choreography, as if the works were the traces of a dance. Some see in paintings like One the nervous intensity of the modern city, others the primal rhythms of nature.
New York School. A loose association of vanguard artists working in New York City during the 1940s and ’50s. At the center of the New York School were artists like Jackson Pollock, Willem de Kooning, and Mark Rothko, who were associated with Abstract Expressionism and helped establish a uniquely American avant-garde and propel New York City to eclipse Paris as the center of the art world. These artists created stylistically diverse, often monumental paintings that introduced bold innovations in form and content and reflected a desire to embrace spontaneity and individual expression. The New York School also encompasses the poets, filmmakers, composers, and photographers such as Aaron Siskind who formed close relationships, collaborated, and shared inspiration with New York School painters. www.artsy.net/gene/new-york-school
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
A still frame of a new digital painting composed using action movie gun fights. Colorful forms from bursts of gun fire and smoke are extracted using custom software and are layered over time to form abstract expressionist paintings. This composition was made from the movie Leon: The Professional.
More information about Action Painting is available here: www.mantissa.ca/projects/actionpainting.php