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Abstract Expressionism in photography, inspired by well-known abstract artists of the mid-20th Century such as Mark Rothko, Jackson Pollock, Frank Bowling, Gerhardt Richter and orthers.
Untitled (1950s)
Pastel and collage on woven paper
10-7/16 x 14 inches
Courtesy of Spanierman Modern, New York
Oil on canvas; 114 x 122 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.
Born and trained in Germany, he moved to America during the Nazi era. His specialty was geometric abstraction and color study. Albers' work represents a transition between traditional European art and the new American art. His work incorporated European influences from the constructivists and the Bauhaus movement, and its intensity and smallness of scale were typically European. However, his influence fell heavily on American artists of the late 1950s and the 1960s. "Hard-edge" abstract painters drew on his use of patterns and intense colors, while Op artists and conceptual artists further explored his interest in perception.
Tendresse (1984)
Oil on canvas
50 by 40 in.
Balcomb Greene taught art history and aesthetics at Carnegie Tech in Pittsburgh (today Carnegie-Mellon Universtiy). Among his students were Philip Pearlstein and Andy Warhol.
Photograph courtesy Spanierman Gallery, LLC, New York
Spanierman Gallery, LLC is the representative of the estate of Balcomb Greene
Land of Sunshine -Oil on canvas 100cmx80cm
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Welded iron with paint and nails; 78 9/16 x 74 5/8 x 1 3/4 "
Alberto Burri was an Italian artist known for his adventurous use of new materials. Burri was trained as a physician and began to paint only in 1944, while in a prisoner-of-war camp in Texas. About 1946 he moved to Rome and began to paint seriously. His early works—rags splashed in red paint to simulate blood-soaked bandages—grew directly out of his experiences as a doctor in the Italian army. He then began to produce works grouped into series according to the material used. The works of the earliest series (c. 1953) were made of coarse cloth stitched together. After 1956 he employed thin pieces of burned wood and layers of polyethylene in which holes were burned, creating a rich spatial network within the layers of plastic. The humble and sometimes crude materials used in these works contrast effectively with their elegant designs, and the easily destroyed materials form a perforated network over an impinging background field. In his series of metal works done after 1959, however, the solid material completely encloses the background field, although the metal is hammered from behind as if the imprisoned field were trying to break out.
Helen Frankenthaler, Mountains and Sea, 1952, oil and charcoal on unsized, unprimed canvas, 219.4 x 297.8 cm (National Gallery of Art, Washington)
Watercolour and Ink on Paper; 19.6 x 26.9 cm.
Ding Yi (Chinese, b.1962) is a Contemporary painter from Shanghai. He holds degrees from both the Shanghai Arts & Crafts Institute (1983), and Shanghai University’s Fine Arts department (1990). Ding is one of China’s foremost Abstract painters, his work having been exhibited around the world including the Venice Biennale, Yokohama Triennale, and Sydney Biennale. His paintings are characterized by an acute attention to detail, with systematic repetition of forms and layering. The main motif in Ding’s work is the cross shape, which he has used throughout his entire career. The artist is best known for his large-scale, densely patterned paintings. His works from the 1980s were monochrome and influenced by De Stijl and Mondrian. There were no Figurative elements in these pieces, only lines forming patterns of intersecting grids. During the 1990s, Ding began experimenting more with color, material, and overall technique; his grid pattern is still present during this period, but such materials as charcoal, watercolor, and chalk are seen on a variety of surfaces including screens, fans, and card. Since the 2000s, Ding has worked with a much brighter palette of color for his work, and continues to produce stunningly intricate paintings. Ding currently lives in Shanghai, painting and lecturing at the Shanghai Arts & Crafts Institute.
Oil on canvas; 50.8 x 65.2 cm.
František Kupka was a Czech painter and graphic artist. He was a pioneer and co-founder of the early phases of the abstract art movement and Orphic cubism (Orphism). Kupka's abstract works arose from a base of realism, but later evolved into pure abstract art. He was born in Opočno, eastern Bohemia (now Czech Republic) in 1871. From 1889 to 1892, he studied at the Prague Art Academy. At this time, he painted historical and patriotic themes. Kupka enrolled at the Akademie der Bildenden Künste in Vienna, where he concentrated on symbolic and allegorical subjects. He was influenced by the painter and social reformer Karl Wilhelm Diefenbach (1851-1913) and his naturistic life-style. Kupka exhibited at the Kunstverein, Vienna, in 1894. His involvement with theosophy and Eastern philosophy dates from this period. By spring 1894, Kupka had settled in Paris; there he attended the Académie Julian briefly and then studied with Jean-Pierre Laurens at the Ecole des Beaux-Arts.
Kupka worked as an illustrator of books and posters and, during his early years in Paris, became known for his satirical drawings for newspapers and magazines. In 1906, he settled in Puteaux, a suburb of Paris, and that same year exhibited for the first time at the Salon d'Automne. Kupka was deeply impressed by the first Futurist Manifesto, published in 1909 in Le Figaro. Kupka’s 1909 painting Piano Keyboard/Lake marked a break in his representational style. His work became increasingly abstract around 1910–11, reflecting his theories of motion, color, and the relationship between music and painting (orphism). In 1911, he attended meetings of the Puteaux Group (Section d'Or). In 1912, he exhibited at the Salon des Indépendants in the Cubist room, although he did not wish to be identified with any movement. Creation in the Plastic Arts, a book Kupka completed in 1913, was published in Prague in 1923.
In 1931, he was a founding member of Abstraction-Création. In 1936, his work was included in the exhibition Cubism and Abstract Art at the Museum of Modern Art in New York City, and in an important show with another excellent Czech painter Alphonse Mucha at the Jeu de Paume in Paris. A retrospective of his work took place at the Galerie Mánes in Prague in 1946. The same year, Kupka participated in the Salon des Réalités Nouvelles, where he continued to exhibit regularly until his death. During the early 1950s, he gained general recognition and had several solo shows in New York.
Kupka had a strong interest in color theory. His decadent 1907 self-portrait The Yellow Scale prefigures his abstract emphasis on color. Around 1910 he began developing his own color wheels, adapting a format previously explored by Sir Isaac Newton and Hermann von Helmholtz. This work in turn led Kupka to execute a series of paintings he called "Discs of Newton" (1911-12). Kupka was interested in freeing colors from descriptive associations. His work in this area is thought to have influenced other artists like Robert Delaunay.
Louise Berliawsky Nevelson (born Leah Berliawsky, September 23, 1899, Kiev, Czarist Russia - d. April 17, 1988, New York, New York) was a Russian-born American artist.
Nevelson is known for her abstract expressionist “crates” grouped together to form a new creation. She used found objects or everyday discarded things in her “assemblages” or assemblies, one of which was three stories high: ”When you put together things that other people have thrown out, you’re really bringing them to life – a spiritual life that surpasses the life for which they were originally created."
Jean Fautrier was a French painter and sculptor. He was one of the most important practitioners of Tachisme. He was born in Paris and studied in London at the Royal Academy of Art and the Slade School. He first exhibited his paintings at the Salon d'Automne in 1922 and at the Fabre Gallery in 1923. In 1927, he painted a series of pictures (still lifes, nudes, landscapes) in which black dominates, and in 1928 he began work on a series of engravings. Until 1933 he divided his efforts between sculpture and painting; he then spent five years as a ski instructor in Savoy.
Fautrier resumed painting in 1937, and in 1943 made his twenty-second and last sculpture. The same year, stopped by the German gestapo, he fled Paris and found refuge in Châtenay-Malabry, where he began work on the project of the Otages. These paintings were exhibited in 1945 with the Drouin gallery. In the years that followed, Fautrier worked on the illustration of several works. His late work is abstract, generally small in scale, often combining mixed media on paper. He died in Châtenay-Malabry in 1964.
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.
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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.
Gold leaf on panel; 146 x 114 cm.
Yves Klein was a French artist considered an important figure in post-war European art. New York critics of Klein's time classify him as neo-Dada, but other critics, such as Thomas McEvilley in 1982 have since classified Klein as an early, though enigmatic, postmodernist.
He was the son of the Dutch-born painter Fred Klein (b 1898), whose work was representational, and Marie Raymond (b 1908), who developed a reputation in the 1950s as an abstract artist, and whose abstraction was influential on the development of her son’s work. Although he had had no formal art training, he was already making his first serious attempts at painting by 1946 and showing his interest in the absoluteness of color by formulating his first theories about monochrome. In 1946 he befriended Arman, with whom he was later to be associated in the Nouveau Réalisme movement, and the writer Claude Pascal, whom he met at a judo class. Together they developed their interest in esoteric writing and East Asian religions. Klein became a student of the Rosicrucian Fellowship in 1946 and was influenced both by its mystical philosophy and by judo. In 1952–3 he traveled with Pascal and Arman to Japan, where he studied the art of judo and the spiritual attitude associated with it, gaining the black belt ‘fourth dan’ at the Kodokan Institute in Tokyo. He worked as a judo teacher in Madrid in 1954 and in Paris from 1955 to 1959.
Alongside works by Andy Warhol and Willem De Kooning, Yves Klein's painting RE 46 (1960) was among the top-five sellers at Christie's Post-War and Contemporary Art sale in May 2006. His monochromatic blue sponge painting sold for $4,720,000. Previously, his painting RE I (1958) had sold for $6,716,000 at Christie's New York in November 2000.[16] The Brisbane band Yves Klein Blue are also named after one of the artist's accomplishments. In 2008 MG 9 (1962), a monochromatic gold painting, sold for $21,000,000 at Christie's.
Chris Ofili is a Turner Prize winning British painter best known for artworks referencing aspects of his Nigerian heritage, particularly his incorporation of elephant dung. He was one of the Young British Artists, and is now based in Trinidad. Ofili was born in Manchester. He had a Catholic school education attending St. Pius X High School for Boys, and then Xaverian College in Victoria Park. Ofili completed a foundation course in art at Tameside College in Ashton-under-Lyne in Greater Manchester and studied in London, at the Chelsea School of Art from 1988 to 1991 and at the Royal College of Art from 1991 to 1993.
Ofili was established through exhibitions by Charles Saatchi and the traveling exhibition Sensation (1997) becoming recognized as one of the few British artists of African/Caribbean descent to break through as a member of the Young British Artists group. Ofili has also had numerous solo shows since the early 1990s including the Serpentine Gallery. In 1998, Ofili won the Turner Prize, and in 2003 he was selected to represent Britain at the Venice Biennale of that year.
In 1992 he won a scholarship which allowed him to travel to Zimbabwe. Ofili studied cave paintings there, which had some effect on his style. Though Ofili's detractors often state that he "splatters" elephant dung on his pictures, this is inaccurate: he sometimes applies it directly to the canvas in the form of dried spherical lumps, and sometimes, in the same form, uses it as varnished foot-like supports on which the paintings stand (see above). His work is often built up in layers of paint, resin, glitter, dung (mainly elephant) and other materials to create a collage.
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.
Acrylic on canvas; 32 x 42 cm.
Olav Christopher Jenssen (born in Sortland, Norway, in 1954) studied from 1976 to 1979 at the Statens Håndverks- og Kunstindustrieskole in Oslo, and from 1980 to 1981 at the Statens Kunstakademie in Oslo. He continued his studies abroad, first in New York and then in Berlin until 1983. Now living and working both in Berlin and in Lya, Sweden, Jenssen was in 1996 appointed Professor of painting at the Hochschule für Bildende Kunst in Hamburg as a successor to Sigmar Polke. He first participated in exhibitions in 1977. In 1992 Jenssen participated in the Documenta IX in Kassel, where the Lack of Memory series was exhibited together with works by Bruce Marden and Jonathan Lasker. An exhibition of Jenssen's works was held at Studio N at the Museum of Contemporary Art in Helsinki in 1993. He has also had solo shows in Finland, for instance in Galerie Artek in 1988, 1991, and 1995, and at the Nordic Art Centre in 1993.
Olav Christopher Jenssen's paintings may evoke a trace of a romantic-mystical landscape painting, combining the artist's experience of nature and his inner landscape, the landscape of the soul. This interpretation has its origin in the strong Scandinavian tradition represented by the landscape painters of the 1800s and artists such as Carl Fredrik Hill and Edvard Munch. The romantic depiction of nature with religious undertones is often supported by the artist's own strong, expressive interpretation of the subject. Nevertheless, taking into account the sign language associated with the paintings, Jenssen's misty and hazy landscapes can be regarded from a novel point of view.
In Jenssen's paintings the border between the figurative and non-figurative is blurred. In his early works he used recognisable forms as part of a composition. Later in the 1980s the shapes used by the artist suggested the smallest particles of living nature, such as plant tissue and protozoa. In his works Jenssen uses signs and texts improvised by the free movement of a hand. Their origin refers to subconscious automatic writing, which was used as a method of surrealist art. Indeed, Jenssen admits to being influenced by Paul Klee. He maintains his spontaneous working method by drawing constantly, even when he is travelling. By marking down in the drawing the time and place of its creation he connects the work with the present. For Jenssen, drawing is a way of clearing and analysing the relationship between forms and objects, which he claims not to be able do to by thinking alone. He finds all his paintings and drawings to be of equal importance and worth preserving. A past subject or form may resurface, as a stimulus for a new theme.
The 1980s saw an increased interest in painting. Paintings emphasised figurativeness, expressiveness, and an airy picturesqueness. The post-modern trend also toyed with elements and subject matter connected with earlier trends. During his stay in New York in 1981 Olav Christopher Jenssen became acquainted with the abstract impressionism of the 1950s, representative of an informal and non-figurative style. This contributed to Jenssen's understanding of an abstract form language. These ideas he combined with the tradition of romantic landscape painting. Jenssen was also interested in decorative, ornamentally-shaped details, accentuating the surface of the painting, and the strong vertical or horizontal divisions, which find a softer interpretation in his works.
His move to Berlin in 1982 took Jenssen into the very heart of a vigorous and emotionally appealing painting centre. The politically sensitive phase in the still divided Germany was reflected in the artists' expressive and fierce way of painting; their works dealt with grand, mythological stories or depicted the frenzied, urban lifestyle. Jenssen, however, finds his own range of subjects in quiet and inconspicuous everyday life, which in his productions is transformed into an uplifting and insightful experience.
After an intensive 2-year painting session Jenssen completed in 1992 a group of forty large paintings entitled Lack of Memory. The paintings Aphasia, 1990-91, Lapidary, 1991-92, and Serpentine, 1992. The name of a work is an important part of the painting process. The name provides the work with a finishing touch, its ultimate meaning. For Jenssen the concept of Lack of Memory means the absence of memory as distinct from a 'lock of memory', the loss of memory. This general concept refers to a moment of standstill, an emotion here and now which is isolated from the ballast of memory, the past, or the future.
The Lack of Memory series proved an important turning point in Jenssen's career. The long painting process allowed him to experiment with various working methods. He used different techniques in different paintings, such as spreading the paint on the canvas with a brush, by hand, or with a palette knife. Colour schemes were chosen both from the sensitive dark shades and from an expressive palette, non-primary colours such as green, purple, and orange. Instead of the basic forms of a triangle, square, or a circle, Jenssen used free forms which could be associated with nature. The painting does not let on whether the subject depicted is microscopically small or whether the spirals refer to something larger such as the stellar system, for example.
Eija Aarnio
In the heart of darkness, where shadows dance and light flickers, lies a realm untouched by time. "Whispers in the Shadows" unveils a world where beauty intertwines with the surreal, and each image serves as a gateway to the enigmatic depths of the human psyche. Inspired by the haunting works of Yoshitaka Amano and Zdzisław Beksiński, this collection is a tapestry of dreams and nightmares, woven with the threads of abstract expressionism. Here, a Swedish girl becomes the vessel of our deepest fears and fascinations, her smile a paradox amidst the brooding landscape of dark grays, blacks, and golds.
Poem
In the realm where night whispers linger,
A Swedish maiden smiles, a spectral figure.
In hues of gold, black, and sorrow's gray,
She dances with shadows, in eternal play.
Amidst the canvases of Amano's dream,
And Beksiński's nightmarish scream,
Her eyes hold stories untold,
In this world, hauntingly bold.
In the echo of each brushstroke's fall,
She whispers secrets, hidden to all.
A blend of beauty, fear, and art's embrace,
In this gallery of the dark, her ethereal place.
Haiku
Shadowed smile gleams,
In gold and gray dreams she weaves,
Silent whispers breathe.
Ink on paper; 8 x 6 1/4 in.
Abraham Walkowitz was an American painter grouped in with early American Modernists working in the Modernist style. He was born in Tyumen, Siberia to Jewish parents. He emigrated with his mother to the United States in his early childhood. He studied at the National Academy of Design in New York City and the Académie Julian in Paris under Jean-Paul Laurence. Walkowitz and his contemporaries later gravitated around photographer Alfred Stieglitz's 291 Gallery, originally titled the Little Galleries of the Photo-Secession, where the forerunners of modern art in America gathered and where many European artists were first exhibited in the United States. During the years, Walkowitz worked closely with Stieglitz as well as Arthur Dove, Marsden Hartley, and John Marin (often referred to as "The Stieglitz Quartet").
Walkowitz was drawn to art from childhood. In a 1958 oral interview with Abram Lerner, he recalled: "When I was a kid, about five years old, I used to draw with chalk, all over the floors and everything... I suppose it's in me. I remember myself as a little boy, of three or four, taking chalk and made drawings." In early adulthood, he worked as a sign painter and began making sketches of immigrants in New York's Jewish ghetto where he lived with his mother. He continued to pursue his formal training, and with funds from a friend traveled to Europe in 1906 to attend the Académie Julian. Through introductions made by Max Weber, it was here that he met Isadora Duncan in Auguste Rodin's studio, the modern American dancer who had captured the attention of the avant-garde. Walkowitz went on to produce more than 5,000 drawings of Duncan.
Walkowitz' approach to art during these years stemmed from European modernist ideas of abstraction, which were slowly infiltrating the American art psyche at the turn of the century. Like so many artists of the time, Walkowitz was profoundly influenced by the 1907 memorial exhibition of Cézanne's work in Paris at the Salon d'Automne. Artist Alfred Werner recalled that Walkowitz found Cézanne's pictures to be "simple and intensely human experiences." Working alongside other Stieglitz-supported American modernists, Walkowitz refined his style as an artist and produced various abstract works.
Although Walkowitz drew influences from modern European masters, he was cautious not to be imitative. Artist and critic Oscar Bluemner recognized this quality in Walkowitz’s work, citing the differences between the highly influential writings of Kandinsky and Walkowitz' style. He wrote: "Walkowitz is impelled by the ‘inner necessity’: Kandinsky, however, like the other radicals, appears not to proceed gradually and inwardly, but with a mind made up to commit an intellectual feat—which is not art."
Walkowitz first exhibited at the 291Gallery in 1911 after being introduced to Stieglitz through Hartley, and stayed with the gallery until 1917. During the 291 years, the climate for modern art in America was harsh. Until the pivotal Armory Show of 1913 had occurred which Walkowitz was involved with and exhibited in, modern artists importing radical ideas from Europe were received with hostile criticism and a lack of patronage. While never attaining the same level of fame as his contemporaries, Walkowitz' close relationship with the 291 Gallery and Alfred Steiglitz placed him at the center of the modernist movement. His early abstract cityscapes and collection of over 5,000 drawings of Isadora Duncan also remain significant art historical records.
A new tribute to The Resurrection of Christ by British artist Stephen B. Whatley; painted with prayers on Easter Day ,March 31, 2024.
Artist Stephen B. Whatley (1965-) suffered the tragic loss at 16 of his beloved, devoted mother Marjorie J. Whatley (1943-1981) and the devastating bereavement lead the artist on a search for spiritual depth both in his life and art. Whilst he was born an Anglican, he became attracted to the devotions within the Catholic Church – to which he converted in 2011.
He is happy that his work touches so many Christians, whether they be Catholics, Anglicans or Episcopalians.
Since 2000, he has been drawn to make statements of prayer and faith; often painting on specific anniversaries and Feast Days – with what he humbly calls a “divine push’, creating both works of hope and light.
The work of Stephen B. Whatley is in collections worldwide & public collections which own his work include the BBC, London Transport Museum, and The Royal Collection of HM King Charles III.
Catholic institutions that own the artist's paintings include The Carrollton School of The Sacred Heart, Miami, USA, The Institute of Marist Brothers, Canada, Newman University, Birmingham (UK), St Anthony Padua Catholic College, Sydney, Australia and Westminster Cathedral, London - which staged his 2013 exhibition, Paintings From Prayer.
In 2004, the artist was presented to Queen Elizabeth II and The Duke of Edinburgh in recognition of his work.
The artist's series of 30 paintings, commissioned by the Tower of London in 2000, is a permanent exhibit outside Tower Hill Station, London ; reproduced throughout Tower Hill Pedestrian Underpass (outside Tower Hill Station) - the main portal entrance to the Tower of London.
Jesus, Light of Glory - Easter Day 2024 by Stephen B. Whatley
Oil on canvas
30 x 24in/76 x 61cm
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Thank you for the visits, kind comments and invitations
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Tobey is most famous for his creation of so-called "white writing" - an overlay of white or light-colored calligraphic symbols on an abstract field which is often itself composed of thousands of small and interwoven brush strokes. This method, in turn, gave rise to the type of "all-over" painting style made most famous by Jackson Pollock, another American painter to whom Tobey is often compared.
Tobey’s work is also defined as creating a vibratory space with the multiple degrees of mobility obtained by the Brownian movement of a light brush on a bottom with the dense tonalities. The series of “Broadway” realized at that time has a historical value of reference today. It precedes a new dimension of the pictorial vision, that of contemplation in the action.
His work is inspired by a personal belief system that suggests Oriental influences and reference to Tobey's involvement in the Bahá'í Faith. Four of Tobey's signed lithographs hang in the reception hall in the Seat of the Universal House of Justice, the supreme governing institution of the Baha’i Faith.
Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting.
During his lifetime, Pollock enjoyed considerable fame and notoriety, a major artist of his generation. Regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.[1]
Pollock died at the age of 44 in an alcohol-related, single-car accident; he was driving. In December 1956, several months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[2][3]
In 2000, Pollock was the subject of the film Pollock, directed by and starring Ed Harris, which won an Academy Award.
en.wikipedia.org/wiki/Jackson_Pollock