View allAll Photos Tagged abstractionist
early to mid-20th-century American abstractionists
De Young Museum, San Francisco
1 April 2014
cameraphone
2014.04.01 107
Charles Biederman
'Paris 140'
1937
de Young Museum, San Francisco
1 April 2014
cameraphone
2014.04.01 099
#abstractworld #abstractionist #abstracted #abstractpattern #abstractions #abstractdrawing #abstract_daily #abstracture #abstractgram #abstractwork #abstractionart #art #abstract #abstractart #someonedrawingstuff
Mauro Malang Santos (1928-2017)
Four Seasons (Quadriptych)
signed and dated 1994 (lower right)
oil on canvas
22” x 18” (56 cm x 46 cm) each
44” x 36” (112 cm x 91 cm) overall
Opening bid: PHP 2,400,000
Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot
Provenance: León Gallery, The Kingly Treasures Auction 2017, December 2, 2017, Lot 105
ABOUT THE WORK
Mauro Malang Santos is upfront with his limited formal education. Aside from the childhood drawing lessons he took from artist Teodora Buenaventura and a semester at the University of the Philippines College of Fine Arts, the bulk of his “lessons” came from his career as a cartoonist at the Manila Chronicle, or what he calls his “Chronicle College.” Under cartoonist Liborio “Gat” Gatbonbon’s tutelage, Malang went on to create the first English comic stip in the Philippines entitled Kosme, the Retired Cop. Further into his career as a cartoonist, Malang started painting vignettes of Manila under the encouragement of then-editor and another “professor” of his at his Chronicle College H.R. Ocampo. Starting with colorful folk depictions, Malang’s later works eventually matured to a more abstract form with his attention focused on the lighter livelier aspects of Filipino life. Malang has a special affection for floral sceneries as shown in his works. In his abstractionist form, Malang transforms a simple still life into a joyous celebration of life as displayed with this lot in hand. As Leonidas V. Benesa stated in 1974, “[The flowers] occupy the foreground as the centers of interest, blooming right into one’s face and consciousness, like large Chagall bouquets. The paintwork is thick and dense, though also delicate, and all four panels of the quadriptych stroke the eye somewhat as the power and complexity of musical chords in music do to the ear.” Twenty years later, Benesa’s observation about Malang is still applicable as displayed with this colorful quadriptych from 1994 Untitled (The Jubilee Quadriptych. Untitled (The Jubilee Quadriptych) features four distinct paintings that create a coherent story when viewed together. All four paintings are a testament to Malang’s mastery in technique, color, and form A prolific and celebrated artist, Malang won awards in the annual art competitions of the Art Association of the Philippines, Society of Philippine Illustrators and Cartoonists, and the Art Directors Guild. He was among the Ten Outstanding Young Men awardees in 1963 , the Gawad CCP Para Sa Sining awardee in 1995, and an awardee of the Patnubay ng Sining at Kalinangan award from the City of Manila in 1981. (Hannah Valiente)
Lot 147 of the Leon Gallery auction on December 2, 2023. Please see leonexchange.com and leon-gallery.com for more information.
Abstract Elements
Abstractionists play with the elements and principles of design to create art works that interpret the everyday world into the language of colour, form, line and texture. Art from this genre expresses abstract ideas that can include realistic, recognizable elements to complete abstraction of the inspiration for the piece. Scott Garant, Sann Sann Lam and Richard Manilla share their interpretations of the everyday world, playing along the continuum of abstraction in their show, Abstract Elements.
Gladstone’s The Art Bar (named after a weekly figure drawing class ongoing since 1957) is our storefront room with large windows facing Queen Street West. It is an intimate space for parties, meetings, conferences or exhibitions.
Photos by: Ann Gagno
Me, Mauricio (the artist), and Greg at MAJESTIC ~ an evening of fabulous couturie designer creations by MERLIN CASTELL and stunning artworks by modern abstractionist MAURICIO SARAVIA
I used to fancy myself an abstractionist and took a lot of pictures like this.Now images like this bore me.
Collections of satanic drawings, photographs and other graphics of gay Satanism (No. 1401-1500) for immersion in spiritualization by Satan. Collection SatanArt No. 15
Album theme: Abstract satanism art and satanic totems
Addition to the grimoire "Gay Lust".
By releasing collections of Satanic drawings, photographs and other graphics of gay Satanism for immersion in the spirituality of Satan SatanArt, I am starting an irregular and periodic publication of graphics of gay Satanism for Satanists and all spiritualized people of our world. This art album SatanArt No. 15 from Slut Sodomia is dedicated to the abstract art of Satanists, Satanic totemic icons and the spiritualization of Satanists in painting.
Abstractionism is an art direction that rejects realistic depictions of objects and phenomena. Abstractionists experiment with shape, color, planes and lines. The main goal of the abstract art artists is to evoke emotions with their creations.
Abstractionism differs from classicism and realism in that it does not show us the real world in images that are familiar to us. And in comparison, with the same cubism, which in itself is also far from realism, our style has smoother lines. Some people confuse abstractionism and surrealism. But the surrealists distorted reality, created a kind of augmented reality, and abstractionists, refusing to depict real objects as they really are, wanted, first of all, to convey feelings and emotions, without pushing away from the world of things . Abstraction in Satanism is not necessarily divorced from the real things of our world, but its true satanic meaning is divorced from the things depicted. Therefore, the sword with the motto, along the outline, is also Satan, and not just an image of any sword. You can call satanic abstractionism a subtype of surrealism. For the album of paintings SatanArt #15, I prefer the term abstraction, because the painted things serve to convey satanic spirituality.
As you already know from the first album SatanArt No. 1, there are no clear canons of belonging to Satanism and there are no classical images of Satanism either. All pictures are my personal perception of artistic graphics, which I attribute to satanic. However, Antichrist Slut Sodomia hopes that these images will become an additional tool for the satanic spiritualization of a large number of people around the world, through mental immersion in the spiritualization of Satan, through visual images.
See www.kew.org/henry-moore/explore/sculpture01.shtml for more on this piece.
Shot with a Nikon 18-200mm on a Nikon D50 by a rank amateur. Once again, I preferred others. No accounting for taste. :-)
The more of his pieces I see the more I think they need people - and not just for scale. I like all the images - but I'm coming around to thinking that I'm trying to out-abstract an abstractionist without some sort of human touch.
Abstract satanism art and satanic totems. Addition to the grimoire "Gay Lust". The names of the paintings are in English.
The album was compiled by His Majesty Satan's Fag Slut Sodomia ⚣ aka Antichrist SlutSodomia
2024 English version. Collection for 2021-2024
By releasing collections of Satanic drawings, photographs and other graphics of gay Satanism for immersion in the spirituality of Satan SatanArt, I am starting an irregular and periodic publication of graphics of gay Satanism for Satanists and all spiritualized people of our world. This art album SatanArt No. 15 from Slut Sodomia is dedicated to the abstract art of Satanists, Satanic totemic icons and the spiritualization of Satanists in painting.
Abstractionism is an art direction that rejects realistic depictions of objects and phenomena. Abstractionists experiment with shape, color, planes and lines. The main goal of the abstract art artists is to evoke emotions with their creations.
COMPLETE VIDEO ALBUM "Abstract satanism art and satanic totems" YOU CAN WATCH HERE IN VIDEO FORMAT: youtu.be/j1noM4sT4ZE
Thompson, Bob (1937–1966)
Judgement of Paris
Oil and graphite on canvas
10 1/8 x 8 inches
1963
In his brief but prolific career, Robert Louis Thompson rejected traditional expectations of the African American artist to create narrative genre scenes descriptive of Black life in the United States. He was equally uninterested in pure abstraction as a means of expressing universal experiences, a common objective of modern artists. Instead, Thompson followed the examples of Romare Bearden and Sam Gilliam in his exploration of aesthetic, rather than sociopolitical issues. Often described as a figurative abstractionist, Thompson’s simplification of forms and manipulation of color to convey emotional intensity has inspired comparisons with Gauguin’s Fauvist style.
Thompson developed an interest in the arts as a teenager growing up in a middle-class family in Louisville, Kentucky. When Thompson’s father was killed in a car accident in 1950, the thirteen-year-old was sent to live with his sister and her husband, Robert Holmes. A painter, Holmes cultivated young Thompson’s artistic inclinations, offering guidance and encouragement. Following graduation from an academically rigorous all-Black high school in 1955, Thompson enrolled as a pre-medicine student at Boston University. He quickly realized, however, that painting—not science—was his true passion and transferred to an art program at the University of Louisville. During these years, Thompson’s early abstractionist style gave way to a more figural approach, a shift the artist credited to a summer spent in Provincetown, Massachusetts in 1958. There, Thompson met a group of emerging artists—including Red Grooms, Emilio Cruz, and Gandy Brodie—who, in contradiction to prevailing New York trends, embraced the figural in their work. Deeply influenced by these artistic rebels, Thompson likewise modified his own style.
Thompson relocated to New York City in 1959, where he encountered an artistic atmosphere that matched his own boundless energy and appetites. He settled in a dilapidated tenement building on the Lower East Side near Benny Andrews's residence and became a regular at the Five Spot, a local jazz café frequented by artists and writers. These creative forces helped Thompson refine his signature mature style. By appropriating and adapting the compositions of European masters, Thompson transformed familiar scenes—now modernized by faceless forms rendered in deep, vibrant colors—into exuberant contemporary allegories. The colorful and symbolic intensity of his paintings captivated viewers when they were exhibited in 1960, first at the Delancey Museum and later at Zabriskie Gallery.
On the heels of these exhibitions, Thompson won a series of notable awards which financed travels through Europe from 1961 to 1963, including extended studies in Paris and Spain. Upon his return to New York in 1963, Thompson was welcomed with a series of solo exhibitions at various galleries in both New York and Chicago, attracting the patronage of influential private collectors such as Walter P. Chrysler Jr. and Joseph H. Hirshhorn. Public collections have since followed suit, and the artist’s works are today represented at the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Art Institute in Chicago, and Detroit Institute of Art. Tragically, Thompson died shortly before his twenty-ninth birthday and so did not live to see the impact of his career on the American art scene. His oeuvre continues to command attention and, in 1998, was the focus of a Whitney Museum traveling exhibition of over one hundred works.
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All the Small Things
TJC Gallery, Spartanburg SC
February 19, 2025 – April 4, 2025
thejohnsoncollection.org/all-the-small-things/
Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.
Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.
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See also: www.flickr.com/photos/ugardener/albums/72177720322921517/
THE JOHNSON COLLECTION - A Private Collection for Public Good
thejohnsoncollection.org/the-collection/
Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.
What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.
Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.
.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.
Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.
Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.
Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.
In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."
"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'
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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.
Experience the Cultural District
Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.
Come experience how we put the art in SpARTanburg."
Joanne and I at MAJESTIC ~ an evening of fabulous couturie designer creations by MERLIN CASTELL and stunning artworks by modern abstractionist MAURICIO SARAVIA