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#abstractworld #abstractionist #abstracted #abstractpattern #abstractions #abstractdrawing #abstract_daily #abstracture #abstractgram #abstractwork #abstractionart #art #abstract #abstractart #someonedrawingstuff
4me4you visits Pilar Corrias Gallery, which featured –
Robert Reed - “San Romano Series”.
Pilar Corrias Gallery..>Reed’s works are carefully structured. He places each painting within its series, and then tethers it to a nostalgic symbol of his childhood. A student of abstractionist painter and Bauhaus designer Josef Albers, Reed learned to skillfully mix his own colours, often reflecting his personal experiences in vibrant compositions of geometric form.
Installation view of Abstractionists
Harbourfront Centre
January 23 - June 19, 2016
Photography: Tom Bilenkey
Cathedral - 1949-1950
Theodoros Stamos (Greek/American, 1922 - 1997)
When Stamos created “Cathedral”, he was twenty-seven years old. Remarkably, it corresponds in style, content, and maturity of expression to the contemporaneous production of his older peers Adoph Gottlieb and William Baziotes. Like these painters, who were among the first generation of the Abstract Expressionists, Stamos sought to explore mythic and primordial imagery as a means of discovering universal truths about nature and human experience. (1)
In the diffused painterly light in “Cathedral”, figures with blurred outlines appear to float ambiguously within the picture space. As in William Baziotes’s works of this period, the density and palpable aspects of Stamos’s pictorial composition suggest an underwater setting, which is in keeping with both artists’ acute interest in lower, primal forms of life. (2) In contrast to Baziotes's preference for atmospheric dreamscapes, Stamos preferred a more literal mode of paint application-most evident, in the case of Cathedral, in the dragging of a large brush in the upper left section of the work-that presents the beholder with a different set of interpretive options. In addition to a color scheme that incorporates various shades of gray, off-white, and brown, the jagged edges of the central forms might imply a vision of a subterranean cave or an abstracted architectural image, as the title of the picture suggests.
Even though Theodoros Stamos was born and resided in downtown Manhattan, his paintings have never been directly informed by his interaction with the city. Rather, at a surprisingly early age, Stamos began to apply his formidable talents as an abstractionist to conjure up imagery loosely associated with natural phenomena. In the early 1940s the artist-under the influence of European Surrealists who painted biomorphic forms-created pictures containing figures that resemble plants or sea creatures, such as eels and jellyfish. In 1943, at the age of twenty, Stamos had his first one-man exhibition, at Betty Parsons Gallery in New York. That year he met Adolf Gottlieb and the painter/theorist Barnett Newman.
Over the next few years, Stamos played an integral role in the development of the New York School, helping to formulate new conceptions of how the artist could represent primal experiences and mythical imagery as part of the psychology of the modern mind. Such mysticizing imagery was partially motivated by the atrocities of World War II.
In 1947 Newman wrote an emphatic essay for Stamos’s second solo exhibition, at Parsons Gallery, entitled “The Ideographic Picture.” This essay was crucial for the development of Stamos’s career, as it championed his own brand of pictorial signs and associated them with an avant-garde notion of the primitive. Newman portrayed Stamos as uniquely capable of ritualizing the artistic act so that he could tap into the timeless primal forces that underlie the natural world. By the late 1940s, Stamos was depicting fewer, though larger, patches of color and was now obsessively investigating a pictorial format that juxtaposed long Y-shaped bands with smaller, circular figures. In addition, he became increasingly reliant on the dynamics of the paint itself to express his subject matter.
In the 1950s Stamos continued his interest in emphasizing technique over specific imagery and his brushwork became more violent and forceful. In 1970, after the artist’s close friend Mark Rothko committed suicide, Stamos traveled to Greece to visit the ancient ruins and his father's birthplace on the island of Leukas. He moved to Leukas in 1972, spending part of every year there, and his reconnection with both his family heritage and with nature manifested itself in more animated primitive canvases. Later works were similarly based on the artist's experiences' during his trip to the Holy Land in 1983 and following a brush with death in 1990.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
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". 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.
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.
COMPLETE VIDEO ALBUM "Abstract satanism art and satanic totems" YOU CAN WATCH HERE IN VIDEO FORMAT: youtu.be/j1noM4sT4ZE
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". 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.
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.
COMPLETE VIDEO ALBUM "Abstract satanism art and satanic totems" YOU CAN WATCH HERE IN VIDEO FORMAT: youtu.be/j1noM4sT4ZE
#abstractworld #abstractionist #abstracted #abstractpattern #abstractions #abstractdrawing #abstract_daily #abstracture #abstractgram #abstractwork #abstractionart #art #abstract #abstractart #someonedrawingstuff
4me4you visits Pilar Corrias Gallery, which featured –
Robert Reed - “San Romano Series”.
Pilar Corrias Gallery..>Reed’s works are carefully structured. He places each painting within its series, and then tethers it to a nostalgic symbol of his childhood. A student of abstractionist painter and Bauhaus designer Josef Albers, Reed learned to skillfully mix his own colours, often reflecting his personal experiences in vibrant compositions of geometric form.
#abstractworld #abstractionist #abstracted #abstractpattern #abstractions #abstractdrawing #abstract_daily #abstracture #abstractgram #abstractwork #abstractionart #art #abstract #abstractart #someonedrawingstuff
#abstractworld #abstractionist #abstracted #abstractpattern #abstractions #abstractdrawing #abstract_daily #abstracture #abstractgram #abstractwork #abstractionart #art #abstract #abstractart #someonedrawingstuff
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". 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.
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.
COMPLETE VIDEO ALBUM "Abstract satanism art and satanic totems" YOU CAN WATCH HERE IN VIDEO FORMAT: youtu.be/j1noM4sT4ZE
Our local coffee shop #duran is showing works of local geometric abstractionist artists. Which is the long way of saying there's cool stuff to look at.
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cristina_loaut: Oye enserio te digo que ami me encanto el deportivo de @ritualsport tienen otros divinos voy
4me4you visits Pilar Corrias Gallery, which featured –
Robert Reed - “San Romano Series”.
Pilar Corrias Gallery..>Reed’s works are carefully structured. He places each painting within its series, and then tethers it to a nostalgic symbol of his childhood. A student of abstractionist painter and Bauhaus designer Josef Albers, Reed learned to skillfully mix his own colours, often reflecting his personal experiences in vibrant compositions of geometric form.
#abstractworld #abstractionist #abstracted #abstractpattern #abstractions #abstractdrawing #abstract_daily #abstracture #abstractgram #abstractwork #abstractionart #art #abstract #abstractart #someonedrawingstuff