View allAll Photos Tagged geometricabstraction
Olle Bærtling (1911-1981) - Oradalki (1965). In the Tangen collection, Kunstsilo, (Norway). Shown at the temporary exhibition "At arms length: One hundred years of Nordic art" at the Artipelag Arts Center, Gustavsberg, summer 2023.
Bærtling was the major Swedish exponent of Concrete Art, a movement based on the principle that a painting must be entirely built up with purely plastic elements, (surfaces and colours), executed in a mechanic and precise way so as to avoid any impressionistic effect or any suggestion of a meaning beyond those surfaces and colours.
The organisers of a major exhibition of Bærtling's work at the Chinati Foundation (Marfa, Texas) in 2009 explained how Bærtling implemented Concretism:
"Bærtling began mapping out the rudiments of the pictorial system that would preoccupy him throughout the rest of his life in the early ’50s, when, traveling from Stockholm to Paris and absorbing the new abstract art slowly gaining a foothold there, he renounced his previous representational work and committed himself to abstraction. In the years 1953–4 he discovered what would become the essential components of his work: rich fields of single, unmodulated color, outlined in black and formed into triangles which neither originate nor end within the space of the painting itself. For almost thirty years, these simple-seeming devices generated a rich field of possibilities for Baertling as he experimented with different configurations of line, shape, and color."
5x8 in. each. Collages made from dissected painting pieces. Selling at www.saatchiart.com/account/artworks/1246135
Gouache on board; 47.9 x 38.1 cm.
Born in Quiévy, Nord, he studied drawing at the École des Beaux-Arts de Lille, from 1898 to 1901, when he settled in Paris. The initial influence of Impressionism and Post-Impressionism visible in paintings that he sent to the Salon des Indépendants in 1906 gradually gave way to an involvement with Cubism after his move in 1909 to the Bateau-Lavoir studios, where he met Pablo Picasso, Georges Braque and Juan Gris; he was also encouraged by his friendship with Wilhelm Uhde. His work was exhibited in the same room as that of Jean Metzinger, Albert Gleizes and Fernand Léger in the Salon des Indépendants of 1910, and in 1912 he participated in the influential Section d'Or exhibition.
After producing his first abstract paintings in 1917, Herbin came to the attention of Léonce Rosenberg who, after World War I, made him part of the group centered on his Galerie de l'Effort Moderne and exhibited his work there on several occasions in 1918 and 1921. Herbin's radical reliefs of simple geometric forms in painted wood, such as Colored Wood Relief (1921; Paris, Musée National d'Art Moderne), challenged not only the status of the easel painting but also traditional figure–ground relationships. The incomprehension that greeted these reliefs and related furniture designs, even from those critics most favorably disposed towards Cubism, was such that until 1926 or 1927 he followed Rosenberg's advice to return to a representational style. Herbin himself later disowned landscapes, still-lifes and genre scenes of this period, such as Bowls Players (1923; Paris, Musée National d'Art Moderne), in which the objects were depicted as schematized volumes.
The yellow paint on the stairs' risers was intended to warn people that stairs are present, not to complement the artwork. Unfortunately!!
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In downtown Albany, New York, on August 28th, 2016, outside the Capital Repertory Theatre on the east side of North Pearl Street (New York State Route 32), north of Sheridan Avenue.
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Getty Thesaurus of Geographic Names terms:
• Albany (7013266)
• Albany (county) (1002139)
Art & Architecture Thesaurus terms:
• benches (furniture) (300038494)
• boulder (300011671)
• geometric abstraction (300056509)
• mosaics (visual works) (300015342)
• multicolored (300252256)
• murals (general, decorations on wall) (300182732)
• stairs (300003228)
• theaters (buildings) (300007117)
• tile (material) (300010676)
Wikidata items:
• 28 August 2016 (Q25707302)
• August 28 (Q2817)
• August 2016 (Q19249499)
• Capital District (Q3320597)
• Capital Repertory Theatre (Q5035655)
• New York State Route 32 (Q451807)
Library of Congress Subject Headings:
• Ornamental rocks (sh85095705)
Born in Moscow in 1866, Kandinsky spent his early childhood in Odessa. His parents played the piano and the zither and Kandinsky himself learned the piano and cello at an early age. The influence of music in his paintings cannot be overstated, down to the names of his paintings Improvisations, Impressions, and Compositions. In 1886, he enrolled at the University of Moscow, chose to study law and economics, and after passing his examinations, lectured at the Moscow Faculty of Law. He enjoyed success not only as a teacher but also wrote extensively on spirituality, a subject that remained of great interest and ultimately exerted substantial influence in his work. In 1895 Kandinsky attended a French Impressionist exhibition where he saw Monet's Haystacks at Giverny. He stated, "It was from the catalog I learned this was a haystack. I was upset I had not recognized it. I also thought the painter had no right to paint in such an imprecise fashion. Dimly I was aware too that the object did not appear in the picture..." Soon thereafter, at the age of thirty, Kandinsky left Moscow and went to Munich to study life-drawing, sketching and anatomy, regarded then as basic for an artistic education.
Ironically, Kandinsky's work moved in a direction that was of much greater abstraction than that which was pioneered by the Impressionists. It was not long before his talent surpassed the constraints of art school and he began exploring his own ideas of painting - "I applied streaks and blobs of colors onto the canvas with a palette knife and I made them sing with all the intensity I could..." Now considered to be the founder of abstract art, his work was exhibited throughout Europe from 1903 onwards, and often caused controversy among the public, the art critics, and his contemporaries. An active participant in several of the most influential and controversial art movements of the 20th century, among them the Blue Rider which he founded along with Franz Marc and the Bauhaus which also attracted Klee, Lyonel Feininger (1871-1956), and Schonberg, Kandinsky continued to further express and define his form of art, both on canvas and in his theoretical writings. His reputation became firmly established in the United State s through numerous exhbitions and his work was introduced to Solomon Guggenheim, who became one of his most enthusiastic supporters.
In 1933, Kandinsky left Germany and settled near Paris, in Neuilly. The paintings from these later years were again the subject of controversy. Though out of favor with many of the patriarchs of Paris's artistic community, younger artists admired Kandinsky. His studio was visited regularly by Miro, Arp, Magnelli and Sophie Tauber.
Kandinsky continued painting almost until his death in June, 1944. his unrelenting quest for new forms which carried him to the very extremes of geometric abstraction have provided us with an unparalleled collection of abstract art.
Oil on canvas; 73 x 50 cm.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Acrylic and finished fabric; 200 x 80 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.
Untitled Composition (#30)
2013
Acrylic on 2 separate 24" x 24" x 2.5" Canvases
3 Dimensional 2 Canvas Diptych
Total Size: 24″ x 48″ x 2.25″
Both canvases are 24" x 24" x 2.25" - their designs continue onto the relief and sides of the canvases thus the piece need not be framed. Each canvas extends 2.5" from the wall.
Signed and dated on (1 - left) canvas in marker with artist's signature and date 2013.
As always, I'm at www.brycehudson.com - stop by - say hi ;-)
Acrylic on tartan; 260 x 140 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.
Watercolor, gouache, pen and ink, and pencil on Ingres paper mounted on the artist's board; 22 x 34 cm.
Paul Klee was born in Münchenbuchsee, Switzerland, and is considered both a Swiss and a German painter. His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. He was, as well, a student of orientalism. Klee was a natural draftsman who experimented with and eventually mastered color theory, and wrote extensively about it; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are considered so important for modern art that they are compared to the importance that Leonardo da Vinci's A Treatise on Painting had for Renaissance. He and his colleague, the Russian painter Wassily Kandinsky, both taught at the German Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.
Oil on cardboard; 36 x 29 cm.
Painter, sculptor and graphic artist. Máttis-Teustch, an ethnic Hungarian in Romania, attended the School of Design in Budapest and learnt to become a sculptor at the Munich Academy in 1902-05. He lived in Paris from 1906 to 1908, and from 1908 onwards, he was a teacher of small sculpture and art history at the trade school in Brasov,. Romania. His early naturalesque landscapes and pictures on ecclesiastical and ethic issues were followed by more and more abstract compositions. His water colours and black and white linocuts reflected a state of mind brought about by his experiments in the country. He joined the Abstrakte Gruppe der Sturm in Berlin in 1918.
He met the A bis Z Group in Köln in 1919, later Bauhaus in Weimar. He worked in Hungary during the Hungarian Soviet Republic, then returned to Brasov. His subject matters became more and more abstract (a series of "Flowers of the Soul"). He also did sculptures of coloured clay and wood ("Female Figure", 1920). He took part in Romanian avantgarde from 1923 onwards. He suggested activity with the pictures entitled "Social Structures" by emphasizing the vertical axis.
He spent summers in Nagybánya from 1928 onwards. His figures were filled with more definite content after he had learnt the hard lives of miners. He represented expressionism and abstraction later. He never materialized his fresco designs although he did series of them in 1932-1940. He gave up painting during Worl War II. His surrealistic period during 1945-48 showed a new demand for psychological analysis. In the early 1950s, he painted naturalistic genre pictures. In his last period from 1956 onwards, he painted hands and legs only.
Oil on incised wood; 43.2 x 20.3 cm.
Joaquín Torres García (28 July 1874 – 8 August 1949), was a Uruguayan plastic artist and art theorist, also known as the founder of Constructive Universalism. In 1978, most of his works were destroyed in a fire that broke out in the Museum of Modern Art in Rio de Janeiro, while a large exhibition of the artist's works was being held.
en.wikipedia.org/wiki/Joaqu%C3%ADn_Torres_Garc%C3%ADa/Tra...
Oil on canvas; 100.2 x 120.5 cm.
Giacomo Balla was an Italian painter. Born in Turin, in the Piedmont region of Italy, the son of an industrial chemist, as a child Giacomo Balla studied music. At 9, he began working in a lithograph print shop. By age twenty his interest in art was such that he decided to study painting at local academies and exhibited several of his early works. Following academic studies at the University of Turin, Balla moved to Rome in 1895. For several years he worked in Rome as an illustrator and caricaturist as well as doing portraiture. In 1899 his work was shown at the Venice Biennale and in the ensuing years his art was on display at major Italian exhibitions in Rome and Venice, in Munich, Berlin and Düsseldorf in Germany as well as at the Salon d'Automne in Paris.
Influenced by Filippo Tommaso Marinetti, Giacomo Balla adopted the Futurism style, creating a pictorial depiction of light, movement and speed. He was signatory to the Futurist Manifesto in 1910. He also taught Umberto Boccioni. In painting, his new style is demonstrated in the 1912 work titled Dynamism of a Dog on a Leash.
During World War I Balla's studio became the meeting place for young artists but by the end of the war the Futurist movement was showing signs of decline. In 1935 he was made a member of Rome's Accademia di San Luca.
Theo van Doesburg was a Dutch painter, writer, poetand architect. He is best known as the founder of De Stijl. After a short training in acting and singing he decided to become a painter. His first exhibition was in 1908. Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh. This suddenly changed in 1913 after reading Wassily Kandinsky's Rückblicke. It made him realize there was a more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. In 1915 he came in contact with the works of Piet Mondrian, who was eight years older, and had by then already gained some attention. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Van Doesburg got in contact with Mondrian, and together with several other artists founded the magazine De Stijl in 1917.
Van Doesburg was the 'ambassador' of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius. While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism. Dadaism, and De Stijl. In 1923 Van Doesburg moved to Paris. During 1924 Doesburg and Mondrian had disagreements, which eventually led to a (temporary) split. The exact reason for this split has been a point of contention; usually the divergent ideas about the directions of the lines have been named as the primary reason: Mondrian never accepted diagonals, whereas Doesburg featured them in his art. After the split, Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism.
Oil on canvas; 50.5 x 50.5 cm.
A well-known artist, designer, and educator, Itten is perhaps best known for contributions to the Foundation Course (Vorkurs) at the Bauhaus in Weimar between 1919 and 1923. Born in Switzerland, Itten's early career was in primary school education but he gave it up to study fine art briefly at the École des Beaux Arts in Geneva. However, dissatisfied with the conservatism of the curriculum he went on to study mathematics and science at university before studying painting at the Stuttgart Academy from 1913 to 1916. Well aware of the avant-garde ideas of the Blaue Reiter and Cubism, he exhibited at the Sturm art gallery in Berlin. He then moved to Vienna to teach and paint at his own art school and, having been introduced to Walter Gropius by Alma Mahler (who was married to Gropius) took up a teaching post at the Bauhaus in 1919. In his classes he encouraged students to experiment with form, color, and texture but his commitment to eastern mysticism and the wearing of monk-like robes led to tensions with Gropius, the institution's director. Furthermore, in the difficult political and economic climate in early 1920s Germany Gropius came under increasing pressure to demonstrate the relevance of the Bauhaus in daily life. As a consequence, Itten's experiential and expressionist approach to creativity was increasingly at odds with Gropius' growing commitment to the machine aesthetic as a key goal of the Bauhaus's educational curriculum. On leaving the Bauhaus Itten studied philosophy in Zurich before setting up his own design school in Berlin from 1926 to 1931. He also became director of the technical school for textiles at Krefeld from 1932 to 1938. He left Germany, first working in Amsterdam and then moving to Zurich where he became the director of the Museum and School of Applied Arts from 1938 to 1953. From 1943 to 1953 he also directed the technical school for textiles and the Rietbergmuseum.
Oil and pencil on canvas; 149 x 149 cm.
Guillermo Kuitca is an Argentinean artist who was born in Buenos Aires in 1961, where he continues to work and live. Kuitca's work has been shown extensively around the globe, and is included in many important public collection, including The Tate Gallery, England; The Metropolitan Museum of Art, New York, NY; Hirshhorn Museum and Sculpture Garden, Washington, DC ; Albright-Knox Art Gallery, Buffalo, NY and The Daros Collection, Zürich, Switzerland . Kuitca represented Argentina at the 2007 Venice Biennale. Recurrent themes of travel, maps, memory, and migration can be found in Kuitca’s work.
In the early and mid-1980s, Kuitca made works which incorporate theater imagery. Many paintings from this period feature figures on a stage-like platform, with titles often inspired by plays, literature and music. In the late 1980s and early 1990s, Kuitca began to integrate the subjects of architecture and topography in his work, often exploring the confluence of communal and private spaces. The floor plans of public institutions, such as those found in the “Tablada Suite” series, geographical maps, and genealogical charts begin to serve as important references during this period.” In 1992, Kuitca created his first works which incorporated the image of a painted bed, “often small and forlorn on the canvas.” Afterwards, the artist used the motif of an apartment floor plan, middle-class and compact, with only one bathroom. This floor plan would eventually lead to maps, theater plans and baggage carousels. Kuitca continued to explore organizational systems, in his “Neufert Suite” (1998) and “Encyclopédie” (2002) series. In his “Global Order” (2002) works, Kuitca combines a world map with architectural plans for interior spaces, “identifying borders and notions of ‘place’ as the changing products of human invention.”
Kuitca is well known “for his use of maps – particularly his transcriptions of topography onto mattresses” Kuitca says he uses the image of a map “to get lost… not to get oriented.” Stemming from his experimentation with aerial views of floor plans, Kuitca moved to maps because “he liked the way they occupy a space somewhere between the abstract and the representational.”
Kuitca’s retrospective “Guillermo Kuitca: Everything, Paintings and Works on Paper, 1980–2008” opened at the Miami Art Museum in 2009, and traveled to the Albright-Knox Art Gallery in Buffalo (19 February– 30 May 2010), New York, the Walker Art Center, Minneapolis (26 June – 19 September 2010) and will concluded at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. (21 October 2010 – 9 January 2011).
Victor Vasarely was an acknowledged leader of the Op Art movement, and his innovations in color and optical illusion have had a strong influence on many modern artists. He was born in Pecs, Hungary in 1906. After receiving his baccalaureate degree in 1925,, he transferred to the Muhely Academy, also known as the Budapest Bauhaus, where he studied with Alexander Bortnijik. At the Academy, he became familiar with the contemporary research in color and optics by Jaohannes ltten, Josef Albers, and the Constructivists Malevich and Kandinsky. In 1947, Vasarely discovered his place in abstract art. He concluded that "internal geometry" could be seen below the surface of the entire world. He conceived that form and color are inseparable. "Every form is a base for color, every color is the attribute of a form." Forms from nature were thus transposed into purely abstract elements in his paintings.
After his first one-man show in 1930, at the Kovacs Akos Gallery in Budapest, Vasarely moved to Paris. For the next thirteen years, he devoted himself to graphic studies. His lifelong fascination with linear patterning led him to draw figurative and abstract patterned sub .ects, such as his series of harlequins, checkers, tigers, and
zebras. During this period, Vasarely also created multi-dimensional works of art by super-imposing patterned layers on one another to attain the illusion of depth. In 1943, Vasarely began to work extensively in oils, creating both abstract and figurative canvases. His first Parisian exhibition was the following year at the Galerie Denise Rene that he helped found. Vasarely became the recognized leader of the avant-garde group of artists affiliated with the gallery.
Theo van Doesburg was a Dutch painter, writer, poetand architect. He is best known as the founder of De Stijl. After a short training in acting and singing he decided to become a painter. His first exhibition was in 1908. Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh. This suddenly changed in 1913 after reading Wassily Kandinsky's Rückblicke. It made him realize there was a more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. In 1915 he came in contact with the works of Piet Mondrian, who was eight years older, and had by then already gained some attention. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Van Doesburg got in contact with Mondrian, and together with several other artists founded the magazine De Stijl in 1917.
Van Doesburg was the 'ambassador' of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius. While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism. Dadaism, and De Stijl. In 1923 Van Doesburg moved to Paris. During 1924 Doesburg and Mondrian had disagreements, which eventually led to a (temporary) split. The exact reason for this split has been a point of contention; usually the divergent ideas about the directions of the lines have been named as the primary reason: Mondrian never accepted diagonals, whereas Doesburg featured them in his art. After the split, Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism.
18 x 30 inches
Fluid acrylics on canvas
2015
You can see more of my paintings at my blog, Exploring Geometric Abstraction.
Oil on canvas 91.8 x 59.7 cm.
Fernand Léger was born at Argentan, France. He began his career as a an artist by serving an apprenticeship in architecture in Caen and working as a architectural draughtsman. In 1900 Léger went to Paris and was admitted to the École des Arts Décoratifs in 1903 and also attended the Académie Julian. The first profound influence on Léger's work came from Cézanne, whose pictures Léger encountered at the large-scale Cézanne exhibition at the 1907 Salon d'Automne.
Léger became friends with Delaunay and maintained ties with great artists, including Matisse, Rousseau, Apollinaire and leading exponents of Cubism. From 1909 Léger himself developed a quirky Cubist style, distinguished by reduction to the simplest basic forms and formal austerity linked with a pure, sharply contrasting palette by 1913-14. As a painter Fernand Léger exerted an enormous influence on the development of Cubism, Constructivism and the modern advertising poster as well as various forms of applied art.
From 1911 until 1912 Léger belonged to the Section d'Or group. During the first world war Léger came into contact with modern technology, notably cannon. The superhuman powers and precise beauty of ordnance enthralled him. By 1920, influenced by the persuasive assurance radiated by Purism and the form of retro Neo-Classicism practiced by Picasso and others, Léger had achieved a mechanistic classicism, a precise, geometrically and harshly definitive monumental rendering of modern objects such as cog-wheels and screws, with the human figure incorporated as an equally machine-like being. Surrealismus also left its mark on Fernand Léger in the 1930s, loosening up his style and making it more curvilinear. Léger taught at Yale University and at Mills College in California from 1940 until 1945. By now his dominant motifs were drawn from the workplace and were post-Cubist in form, combined with the representational clarity of Realism.
Oil on canvas; 100.5 x 110.6 cm.
Born in Moscow in 1866, Kandinsky spent his early childhood in Odessa. His parents played the piano and the zither and Kandinsky himself learned the piano and cello at an early age. The influence of music in his paintings cannot be overstated, down to the names of his paintings Improvisations, Impressions, and Compositions. In 1886, he enrolled at the University of Moscow, chose to study law and economics, and after passing his examinations, lectured at the Moscow Faculty of Law. He enjoyed success not only as a teacher but also wrote extensively on spirituality, a subject that remained of great interest and ultimately exerted substantial influence in his work. In 1895 Kandinsky attended a French Impressionist exhibition where he saw Monet's Haystacks at Giverny. He stated, "It was from the catalog I learned this was a haystack. I was upset I had not recognized it. I also thought the painter had no right to paint in such an imprecise fashion. Dimly I was aware too that the object did not appear in the picture..." Soon thereafter, at the age of thirty, Kandinsky left Moscow and went to Munich to study life-drawing, sketching and anatomy, regarded then as basic for an artistic education.
Ironically, Kandinsky's work moved in a direction that was of much greater abstraction than that which was pioneered by the Impressionists. It was not long before his talent surpassed the constraints of art school and he began exploring his own ideas of painting - "I applied streaks and blobs of colors onto the canvas with a palette knife and I made them sing with all the intensity I could..." Now considered to be the founder of abstract art, his work was exhibited throughout Europe from 1903 onwards, and often caused controversy among the public, the art critics, and his contemporaries. An active participant in several of the most influential and controversial art movements of the 20th century, among them the Blue Rider which he founded along with Franz Marc and the Bauhaus which also attracted Klee, Lyonel Feininger (1871-1956), and Schonberg, Kandinsky continued to further express and define his form of art, both on canvas and in his theoretical writings. His reputation became firmly established in the United State s through numerous exhbitions and his work was introduced to Solomon Guggenheim, who became one of his most enthusiastic supporters.
In 1933, Kandinsky left Germany and settled near Paris, in Neuilly. The paintings from these later years were again the subject of controversy. Though out of favor with many of the patriarchs of Paris's artistic community, younger artists admired Kandinsky. His studio was visited regularly by Miro, Arp, Magnelli and Sophie Tauber.
Kandinsky continued painting almost until his death in June, 1944. his unrelenting quest for new forms which carried him to the very extremes of geometric abstraction have provided us with an unparalleled collection of abstract art.
en.wikipedia.org/wiki/Wassily_Kandinsky
Victor Vasarely was an acknowledged leader of the Op Art movement, and his innovations in color and optical illusion have had a strong influence on many modern artists. He was born in Pecs, Hungary in 1906. After receiving his baccalaureate degree in 1925,, he transferred to the Muhely Academy, also known as the Budapest Bauhaus, where he studied with Alexander Bortnijik. At the Academy, he became familiar with the contemporary research in color and optics by Jaohannes ltten, Josef Albers, and the Constructivists Malevich and Kandinsky. In 1947, Vasarely discovered his place in abstract art. He concluded that "internal geometry" could be seen below the surface of the entire world. He conceived that form and color are inseparable. "Every form is a base for color, every color is the attribute of a form." Forms from nature were thus transposed into purely abstract elements in his paintings.
After his first one-man show in 1930, at the Kovacs Akos Gallery in Budapest, Vasarely moved to Paris. For the next thirteen years, he devoted himself to graphic studies. His lifelong fascination with linear patterning led him to draw figurative and abstract patterned sub .ects, such as his series of harlequins, checkers, tigers, and
zebras. During this period, Vasarely also created multi-dimensional works of art by super-imposing patterned layers on one another to attain the illusion of depth. In 1943, Vasarely began to work extensively in oils, creating both abstract and figurative canvases. His first Parisian exhibition was the following year at the Galerie Denise Rene that he helped found. Vasarely became the recognized leader of the avant-garde group of artists affiliated with the gallery.
Silk Screen Print; Edition: 54; 80 x 117 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.
buttertwang presents: Frequência Modulada
GRÁFICA ÓPTICA
mosaïque disque géométrique optique
estación: ESPACIO saudade pelo futuro incarnata muse lives life alive in illicit harmony experience love organic architecture whole new way of looking and seeing immersed in light painting now with no filter only 100% real organic naturally occurring analog physical geometric mathematical motion blur un poco loco algoRhythmic ambient guru perfection liquid flow god's dj jet set design graffiti urb scribble urban bright chaos fractal iteration mad busy hectic highway freeway traffic strobing neon signs contemporary abstract expressionism vs. the representational and objective expression and communication of movement and light exploration by means of the rich language of film movies and music thru the fluent use of the vocabulary of moire patterns bokeh and high speed blurry light trails kinetic street art of photography long exposure multiple time distortion compression shooting dtla while driving fast smooth inspired by film noir Ridley Scott Blade Runner, Roman Coppola movie CQ, Ghost in the Shell, etc…
modern, abstraction, sublime, minimal, subliminal, disque, optique, moiré, orb, sun, star, planet, ambient, atmosphere, atmospheric, sci-fi, movie, cinematic, style, video, azulejos, mosaïque, mosaico, mosaic, retro, futuristic, poster
ortho projection mapping 3D dream subtle ambiance ying yang sun face mythological archetype symbolism que hubo cubos totally immersive cubic room cubism cubismo logo spin wax blacklight horizontal universal symbol exploding atomic FUEGO sunstar crown mandaLA wireFrame red rad radio flying out golden radial nuclear sepia vector in all directions at once ninja star ojos de brujo infographiste cyber goth rave punk rock ilusión óptica para vuestro placer retinal
Animated Blend Cymatics
Resonance Made Visible
Hard-as-Math Psichromatic Hipgnosis
#adobeillustrator #designer #abstract #algorithmic #vector #graphics #future #art #visual #artist #eye #minimalist #psychrometric #hipgnosis #opart #logo #packaging #record #cover #graphic #graphicdesign #lines #golden #light #reflection #symmetry #god #círculo #geometría #starwars
Oil on wove paper mounted on cardboard; 14.3 x 11.4 cm.
Source: Oxford University Press
Russian painter and printmaker, active in Germany. When he was ten, his family moved to Moscow. Following family tradition, he was originally educated for a military career, attending cadet school, and, later, the Alexander Military School in Moscow. However, while still a cadet, he became interested in painting. At the age of 16, he visited the Moscow World Exposition, which had a profound influence on him. He subsequently spent all of his leisure time at the Tret’yakov State Gallery, Moscow. In 1884 he was commissioned as a lieutenant in the Samogita Infantry–Grenadier’s Regiment, based in Moscow. In 1889 he transferred to a regiment in St Petersburg, and later enrolled in the Academy of Art (1889–96), where he was a student of Il’ya Repin. Indeed his works of this period reflected some of the conventions of Realism (e.g. W. W. Mathé Working, 1892; St Petersburg, Rus. Mus.). Seeking to escape the limitations on expression exhorted by the Russian art establishment, in 1896 Jawlensky and his colleagues Igor Grabar, Dmitry Kardovsky and marianne Werefkin moved to Munich to study with Anton Ažbe. Here he made the acquaintance of another expatriate Russian artist, Vasily Kandinsky. In Munich Jawlensky began his lasting experimentation in the combination of colour, line, and form to express his innermost self (e.g. Hyacinth, c. 1902; Munich, Lenbachhaus).
In the early years of the 20th century, backed by the considerable wealth of his companion Werefkin, Jawlensky spent his summers travelling throughout Europe, including France, where his works were exhibited in Paris with the Fauves at the Salon d’Automne of 1905. Travelling exposed him to a diverse range of artists, techniques, and artistic theories during a formative stage in his own career as a painter. His work, initially characterized by simplified forms, flat areas of colour and heavy black outlines, was in many ways a synthesis of the myriad influences to which he was exposed. As well as the influence of Russian icons and folk art, Ažbe imparted a sense of the importance of line and colour. In Paris, Jawlensky became familiar with the works of Vincent van Gogh, and some of his paintings reflect elements of van Gogh’s technique and approach to his subject-matter (e.g. Village in Bayern (Wasserburg), 1907; Wiesbaden, Mus. Wiesbaden). In particular his symbolic and expressive use of bright colour was more characteristic of van Gogh and Paul Gauguin than of the German Expressionists, with whom he had the greatest contact. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. The Theosophy and mysticism of the Nabis, with their emphasis on the importance of the soul, struck a responsive chord in Jawlensky, who sought in his art to mirror his own inner being. The combination of technique and spirituality characteristic of these movements, when linked to Jawlensky’s own experience and emerging style, resulted in a period of enormous creativity and productivity.
Between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings (e.g. Jawlensky’s Summer Evening in Murnau, 1908–9; Munich, Lenbachhaus), they experimented with one another’s techniques and discussed the theoretical bases of their art. In 1909 they helped to found the Neue künstlervereinigung münchen (NKVM). After a break-away group formed the Blaue Reiter in 1911, Jawlensky remained in the NKVM until 1912, when works by him were shown at the Blaue Reiter exhibitions. During this period he made a vital contribution to the development of Expressionism. In addition to his landscapes of this period, Jawlensky also produced many portraits. Like all of his work, his treatment of the human face and figure varied over time. In the years preceding World War I, for example, Jawlensky produced portraits of figures dressed colourfully (e.g. Schokko with a Wide-brimmed Hat, 1910) or even exotically (e.g. Barbarian Princess, 1912; Hagen, Osthaus Mus.). However, following a trip to the Baltic coast, and renewed contact with Henri Matisse in 1911 and Emil Nolde in 1912, Jawlensky turned increasingly to the expressive use of colour and form alone in his portraits. He often stripped from his art the distraction of brightly coloured apparel to emphasize the individual depicted and the artist’s own underlying state of mind (e.g. Head of a Woman, 1912; Berlin, Alte N.G.).
This dynamic period in Jawlensky’s life and art was abruptly cut short by the outbreak of World War I. Expelled from Germany in 1914, he moved to Switzerland. Here he began Variations, a cycle of landscape paintings of the view from his window at isolated St Prex on Lake Geneva. The works in this series became increasingly abstract and were continued long after he had left St Prex (e.g. Variation, 1916; and Variation No. 84, 1921; both Wiesbaden, Mus. Wiesbaden). In ill-health he spent the end of the war in Ascona. While in St Prex, Jawlensky had first met Galka Scheyer, a young art student who was captivated by his works. Scheyer’s expressions of admiration and support reinvigorated Jawlensky’s art and (with less success) his finances, first by embracing his theoretical and stylistic tenets, and later by promoting his work in Europe and the USA.
After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood. In these works he attempted to further reduce conventional portraiture to abstract line, form and, especially, colour (e.g. Head of a Girl, 1918; Ascona, Mus. Com. A. Mod.; and Christ, 1920; Long Beach, CA, Mus. A.). In 1921 he began another cycle in the same vein, his Abstract (sometimes called Constructivist) Heads (1921–35), for example Abstract Head: Red Light (1930; Wiesbaden, Mus. Wiesbaden). His graphic art also included highly simplified, almost geometric heads, such as the lithograph Head II (1921–2; Wiesbaden, Mus. Wiesbaden).
In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden. In 1924 he organized the Blue four, whose works, thanks to Scheyer’s tireless promotion, were jointly exhibited in Germany and the USA. From 1929 Jawlensky suffered from a crippling arthritis that severely limited his creative activity. During this final period of his life he endured not only poor health and near poverty but the threat of official persecution as well. In 1933 the Nazis forbade the display of his ‘degenerate’ works. Nevertheless he continued his series of increasingly abstract faces, producing more than 1000 works in the Meditations series (1934–7), which included examples of abstract landscapes and still-lifes, as well as portraits. These series represented further variations on the face broken down into its component parts, using geometric shapes, line and colour to convey the mood of the painting and, hence, that of the painter himself. Jawlensky’s state of mind is vividly reflected in these works, as he adopted an increasingly dark, brooding palette (e.g. Large Meditation III, No. 16, 1937; Wiesbaden, Mus. Wiesbaden). By 1937, when his physical condition forced him to cease painting altogether, these faces had been deconstructed to their most basic form: a cross forming the expressive brow, nose and mouth of the subject, on a richly coloured background (e.g. Meditation, 1937; Zurich, Ksthaus). No longer able to use art as a means of conveying his innermost self, Jawlensky began to dictate his memoirs in 1938.
rel="nofollow">www.moma.org/collection/artist.php?artist_id=2896
Oil on cloth-textured paper over board; 24.8 x 18.5 cm.
Source: Oxford University Press
Russian painter and printmaker, active in Germany. When he was ten, his family moved to Moscow. Following family tradition, he was originally educated for a military career, attending cadet school, and, later, the Alexander Military School in Moscow. However, while still a cadet, he became interested in painting. At the age of 16, he visited the Moscow World Exposition, which had a profound influence on him. He subsequently spent all of his leisure time at the Tret’yakov State Gallery, Moscow. In 1884 he was commissioned as a lieutenant in the Samogita Infantry–Grenadier’s Regiment, based in Moscow. In 1889 he transferred to a regiment in St Petersburg, and later enrolled in the Academy of Art (1889–96), where he was a student of Il’ya Repin. Indeed his works of this period reflected some of the conventions of Realism (e.g. W. W. Mathé Working, 1892; St Petersburg, Rus. Mus.). Seeking to escape the limitations on expression exhorted by the Russian art establishment, in 1896 Jawlensky and his colleagues Igor Grabar, Dmitry Kardovsky and marianne Werefkin moved to Munich to study with Anton Ažbe. Here he made the acquaintance of another expatriate Russian artist, Vasily Kandinsky. In Munich Jawlensky began his lasting experimentation in the combination of colour, line, and form to express his innermost self (e.g. Hyacinth, c. 1902; Munich, Lenbachhaus).
In the early years of the 20th century, backed by the considerable wealth of his companion Werefkin, Jawlensky spent his summers travelling throughout Europe, including France, where his works were exhibited in Paris with the Fauves at the Salon d’Automne of 1905. Travelling exposed him to a diverse range of artists, techniques, and artistic theories during a formative stage in his own career as a painter. His work, initially characterized by simplified forms, flat areas of colour and heavy black outlines, was in many ways a synthesis of the myriad influences to which he was exposed. As well as the influence of Russian icons and folk art, Ažbe imparted a sense of the importance of line and colour. In Paris, Jawlensky became familiar with the works of Vincent van Gogh, and some of his paintings reflect elements of van Gogh’s technique and approach to his subject-matter (e.g. Village in Bayern (Wasserburg), 1907; Wiesbaden, Mus. Wiesbaden). In particular his symbolic and expressive use of bright colour was more characteristic of van Gogh and Paul Gauguin than of the German Expressionists, with whom he had the greatest contact. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. The Theosophy and mysticism of the Nabis, with their emphasis on the importance of the soul, struck a responsive chord in Jawlensky, who sought in his art to mirror his own inner being. The combination of technique and spirituality characteristic of these movements, when linked to Jawlensky’s own experience and emerging style, resulted in a period of enormous creativity and productivity.
Between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings (e.g. Jawlensky’s Summer Evening in Murnau, 1908–9; Munich, Lenbachhaus), they experimented with one another’s techniques and discussed the theoretical bases of their art. In 1909 they helped to found the Neue künstlervereinigung münchen (NKVM). After a break-away group formed the Blaue Reiter in 1911, Jawlensky remained in the NKVM until 1912, when works by him were shown at the Blaue Reiter exhibitions. During this period he made a vital contribution to the development of Expressionism. In addition to his landscapes of this period, Jawlensky also produced many portraits. Like all of his work, his treatment of the human face and figure varied over time. In the years preceding World War I, for example, Jawlensky produced portraits of figures dressed colourfully (e.g. Schokko with a Wide-brimmed Hat, 1910) or even exotically (e.g. Barbarian Princess, 1912; Hagen, Osthaus Mus.). However, following a trip to the Baltic coast, and renewed contact with Henri Matisse in 1911 and Emil Nolde in 1912, Jawlensky turned increasingly to the expressive use of colour and form alone in his portraits. He often stripped from his art the distraction of brightly coloured apparel to emphasize the individual depicted and the artist’s own underlying state of mind (e.g. Head of a Woman, 1912; Berlin, Alte N.G.).
This dynamic period in Jawlensky’s life and art was abruptly cut short by the outbreak of World War I. Expelled from Germany in 1914, he moved to Switzerland. Here he began Variations, a cycle of landscape paintings of the view from his window at isolated St Prex on Lake Geneva. The works in this series became increasingly abstract and were continued long after he had left St Prex (e.g. Variation, 1916; and Variation No. 84, 1921; both Wiesbaden, Mus. Wiesbaden). In ill-health he spent the end of the war in Ascona. While in St Prex, Jawlensky had first met Galka Scheyer, a young art student who was captivated by his works. Scheyer’s expressions of admiration and support reinvigorated Jawlensky’s art and (with less success) his finances, first by embracing his theoretical and stylistic tenets, and later by promoting his work in Europe and the USA.
After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood. In these works he attempted to further reduce conventional portraiture to abstract line, form and, especially, colour (e.g. Head of a Girl, 1918; Ascona, Mus. Com. A. Mod.; and Christ, 1920; Long Beach, CA, Mus. A.). In 1921 he began another cycle in the same vein, his Abstract (sometimes called Constructivist) Heads (1921–35), for example Abstract Head: Red Light (1930; Wiesbaden, Mus. Wiesbaden). His graphic art also included highly simplified, almost geometric heads, such as the lithograph Head II (1921–2; Wiesbaden, Mus. Wiesbaden).
In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden. In 1924 he organized the Blue four, whose works, thanks to Scheyer’s tireless promotion, were jointly exhibited in Germany and the USA. From 1929 Jawlensky suffered from a crippling arthritis that severely limited his creative activity. During this final period of his life he endured not only poor health and near poverty but the threat of official persecution as well. In 1933 the Nazis forbade the display of his ‘degenerate’ works. Nevertheless he continued his series of increasingly abstract faces, producing more than 1000 works in the Meditations series (1934–7), which included examples of abstract landscapes and still-lifes, as well as portraits. These series represented further variations on the face broken down into its component parts, using geometric shapes, line and colour to convey the mood of the painting and, hence, that of the painter himself. Jawlensky’s state of mind is vividly reflected in these works, as he adopted an increasingly dark, brooding palette (e.g. Large Meditation III, No. 16, 1937; Wiesbaden, Mus. Wiesbaden). By 1937, when his physical condition forced him to cease painting altogether, these faces had been deconstructed to their most basic form: a cross forming the expressive brow, nose and mouth of the subject, on a richly coloured background (e.g. Meditation, 1937; Zurich, Ksthaus). No longer able to use art as a means of conveying his innermost self, Jawlensky began to dictate his memoirs in 1938.
Edward Kasinec, From Grove Art Online
Oil on canvas; 106.0 × 101.0 cm.
Kenzo Okada (岡田 謙三 "Okada Kenzō" September 28, 1902 – July 25, 1982) was a Japanese-born American painter and the first Japanese-American artist to work in the abstract expressionist style and receive international acclaim.[1]
According to Michelle Stuart, “when Okada came to the United States he was already a mature painter, well considered in his native Japan. To American abstraction Okada brought civilized restraint, an elegance of device and an unusual gift for poetic transmutation of natural forms.”
Kenzo Okada was born September 28, 1902 in Yokohama, Japan. His father, a wealthy industrialist, did not support his son's desire to be an artist. When his father died, Okada entered the department of Western painting at Tokyo School of Fine Arts,[1] called today Tokyo National University of Fine Arts and Music, but in 1924 left for France where he studied with fellow Japanese expatriate Tsugouharu Foujita, executing paintings of urban subjects. In 1927, he exhibited work in the Salon d'Automne. In the same year, he returned to Japan and within a year he had his first one-person show at the Mitsukoshi Department Store in Tokyo. His success continued with a prize in 1936 from the Japanese contemporary artist group Nikakai Group, of which he went on to become a lifetime member. He taught at the School of Fine Arts, Nippon University from 1940 to 1944, but was evacuated to Mori village in the Miyagi Prefecture, later returning to Tokyo to teach at the Musashino Art Institute.[1]
A realist painter in Japan, in 1950 he moved to New York City, where he produced abstract paintings. Undoubtedly stimulated by Abstract Expressionism, these paintings nevertheless display a strong Japanese sensibility and feeling for form. His paintings from the 1950s reveal subtle changes in the natural world through the use of imagery constructed with delicate, sensitive color tonalities, floating within the compositional space. In 1953 he began to exhibit his abstract expressionist paintings with the Betty Parsons Gallery in New York City.
During the 1970s he painted numerous works that used as a point of departure the reinterpretation of the decorative effects of traditional Japanese painting.
Okada evokes the aura of landscape by using earth colors, abstract patterns hinting at rocks and flowers, and an overall haziness that makes his scenes look submerged in water. Bringing an Asian sensitivity to the New York School of abstraction, Okada distills the essence of nature into his painting, making it seem elemental and thus sublime. Okada became friends with Mark Rothko and many other abstract expressionists, especially the early color field painters. His sensitive and personal style of abstract expressionism, with his Asian roots, relates directly to both color field painting and lyrical abstraction.
Okada died in Tokyo July 24, 1982
17 x 28
Fluid acrylics on canvas
2015
You can see more of my paintings at my blog, Exploring Geometric Abstraction.
Gouache on board; 45 53.3 cm.
Brazilian painter and performance artist. In 1954 he began studies with Ivan Serpa at the Museu de Arte Moderna in Rio de Janeiro. He immediately devoted himself to a geometric vocabulary and joined the new Frente group (1954–6) and later the Neo-Concrete movement (1959–61). From 1964 to 1969 he made environmental, participatory events—among them Parangolé (1964), Tropicália (1967) and Apocalipopótesis (1968)—either in art centres or in the street. He was one of the leading exhibitors in the exhibition Nova objetividade brasileira (Rio de Janeiro, 1967), which reactivated the country’s avant-garde. In 1969 he exhibited an installation at the Whitechapel Art Gallery, London, and the following year his work was included in the show Information (New York, MOMA). A Guggenheim Fellowship took him in 1970 to New York, where he lived until 1978. During that period he prepared various multi-media projects in the form of texts, performances, films and environmental events. The 25 successive years of his Metaschemes, Bilaterals, Spatial Reliefs, Nucleii, Penetrables, Meteors, Parangolés, installations, sensory and conceptual projects from 1954 onwards showed a clear transition from modern to post-modern and represent his most finished achievements. Working with oppositions such as balance/effusion, contemplation/celebration and visual art/body art, he retained a radical stance. In 1981 in Rio de Janeiro his family created the H. O. Project, intended to care for, preserve, analyse and disseminate the work that he left.
Roberto Pontual
From Grove Art Online
© 2009 Oxford University Press
Acrylic on canvas; 19 x 26 in.
Julian Stanczak is an American painter and printmaker. The artist lives and works in Seven Hills, Ohio with his wife, the sculptor, Barbara Stanczak. He was born in eastern Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Polish army-in-exile in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa Stanczak learned to write and paint left-handed. He then spend some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. Stanczak received his Bachelor of Fine Arts degree from the Cleveland Institute of Art, Cleveland Ohio in 1954, and then trained under Josef Albers and Conrad Marca-Relli at the Yale University, School of Art and Architecture, New Haven, where he received his Master of Fine Arts in 1956.
In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. During the interview Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. My youthful experiences with the atrocities of the Second World War are with me,- but I wanted to forget them and live a "normal" life and adapt into society more fully. In the search for Art, you have to separate what is emotional and what is logical. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art.
The Op Art movement was named for his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970.
Stanczak uses repeating forms to create compositions that are manifestations of his visual experiences. Stanczak's work is an art of experience, and is based upon structures of color. In the 1980s and 1990s Stanczak retained his geometric structure and created compositions with bright or muted colors, often creating pieces in a series such as Soft Continuum (1981; Johnson and Johnson Co. CT, see McClelland pl. 50). More recently, Stanczak has been creating large-scale series, consisting of square panels on which he examines variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).
Oil on canvas; 160 by 128.3 cm.
Robert Delaunay was a French painter who first introduced vibrant color into Cubism and thereby originated the trend in Cubist painting known as Orphism. He was one of the earliest completely nonrepresentational painters, and his work affected the development of abstract art based on the compositional tensions created by juxtaposed planes of color.
Delaunay was at first a theatre designer and painted only part-time. But he soon came under the influence of the Neo-Impressionists’ use of colour. By 1910 he had made his own contribution to Cubism in two series of paintings, cathedrals and the “Eiffel Tower,” which combined fragmented Cubist form with dynamic movement and vibrant colour. This new and individual use of pictorial rhythms and colour harmonies had an immediate appeal to the senses and, combined with poetic subject matter, distinguished him from the more orthodox Cubist painters. His Orphic style, adopted also by his wife, the painter Sonia Terk Delaunay (1885–1979), had an immediate influence on the work of Der Blaue Reiter (The Blue Rider), a Munich-based group of Expressionist painters.
Two years later he found his way toward completely nonobjective painting when he made his “Colour Disks” and “Windows” series of paintings. Together with his wife, Delaunay worked on large and impressive abstract mural decorations for the Paris Exposition of 1937. Delaunay continued to paint works that restated his Orphic theories.
Knud Merrild studied art and design in Denmark and immigrated to the United States in 1921. He and another Danish artist, Kai G. Götzsche, travelled around and met D. H. Lawrence and his wife, Frieda. The Lawrence’s convinced them to remain in New Mexico for the winter. During the winter of 1922-23 Merrild created a body of work relating to New Mexico and later wrote a book about his experiences with D. H. Lawrence, A Poet and Two Painters, which was first published in 1939 and made him well-known.
In 1923, Merrild went to Los Angeles for the next 30 years. There he created his most significant work, an output of several hundred works in a range of styles. Merrild's early works were cubist inspired paintings and watercolors. He later experimented with different materials in an effort to create works with three-dimensional outputs.
His works were mostly described as surrealistic and were included in recent survey exhibitions dealing with Surrealism in the United States. In 1942 he developed a totally new technique of painting which he called "flux", a process by which he alternatively poured or dripped paints onto a fluid surface. In some cases, the resulting works were entirely abstract while in others, concrete images could be recognized.
In 1952 Merrild suffered a heart attack and returned to his native country seeking less expensive medical care. He did not produce any more work in Denmark and died in 1954.
buttertwang presents: Frequência Modulada
GRÁFICA ÓPTICA
mosaïque disque géométrique optique
estación: ESPACIO saudade pelo futuro incarnata muse lives life alive in illicit harmony experience love organic architecture whole new way of looking and seeing immersed in light painting now with no filter only 100% real organic naturally occurring analog physical geometric mathematical motion blur un poco loco algoRhythmic ambient guru perfection liquid flow god's dj jet set design graffiti urb scribble urban bright chaos fractal iteration mad busy hectic highway freeway traffic strobing neon signs contemporary abstract expressionism vs. the representational and objective expression and communication of movement and light exploration by means of the rich language of film movies and music thru the fluent use of the vocabulary of moire patterns bokeh and high speed blurry light trails kinetic street art of photography long exposure multiple time distortion compression shooting dtla while driving fast smooth inspired by film noir Ridley Scott Blade Runner, Roman Coppola movie CQ, Ghost in the Shell, etc…
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Oil on canvas; 200 x 200 cm.
Since 1945 Piero Dorazio studied architecture in Rome. At the same time first abstract works were executed. In 1947 he received a scholarship from the Ecole nationale supérieure des Beaux Arts in Paris, where he contacted Modern artists, who lived in Paris. He founded the galleries "Age d'Or" in Florence and Rome to diffuse avant-garde arts in Italy.
During a one year stay in the USA he got acquainted with leading characters of Abstract Expressionism like Marc Rothko, Robert Motherwell and Barnett Newman. At that time he also intensively studied Kandinsky's essays, whose theory of the immaterial aspects in painting influenced him strongly. In 1959 Piero Dorazio participated in the "documenta II" in Kassel. Afterwards he accepted a teaching position at the University of Pennsylvania, where Piero Dorazio founded the Institute of Contemporary Art in 1963 and was appointed professor in 1968.
In the 1960's the first compositions of ink ribbons were executed in his studio in New York, which dominated his work henceforth. After his return to Italy Dorazio moved to the former romanic cloister of Todi in Umbria. Piero Dorazio was regarded up to great age as one of the leading Italian artists of concrete color painting.
Piero Dorazio died at the age of 77 in Perugia on 17 May 2005.
Oil on canvas; 199.5 by 150 cm.
Sonia Delaunay was a Jewish-French artist who, with her husband Robert Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colors and geometric shapes. Her work extends to painting, textile design and stage set design. She was the first living female artist to have a retrospective exhibition at the Louvre in 1964, and in 1975 was named an officer of the French Legion of Honor. Her work in modern design included the concepts of geometric abstraction, the integration of furniture, fabrics, wall coverings, and clothing.
Delaunay grew up in St. Petersburg. She studied drawing in Karlsruhe, Germany, and in 1905 moved to Paris, where she was influenced by the Post-Impressionists and the Fauvists. She married the artist Robert Delaunay in 1910, by which time she was painting in the style known as Orphism, which involved the harmonious juxtaposition of areas of pure colour. She extended Orphist principles to the design of fabrics, pottery decoration, stage sets, and other applied arts. Among her most important works were her Orphist illustrations for a poem by Blaise Cendrars entitled La Prose du Transsibérien et de la petite Jehanne de France (1913; “The Prose of the Trans-Siberian and of Little Jehanne of France”); the resulting volume was a landmark in modern book production.
During the 1920s Delaunay designed textiles and dresses, and her use of abstract colour harmonies had a strong influence on international fashion. She returned to painting in the 1930s, joining the Abstraction-Création association in 1931. She and Robert Delaunay became involved in public art projects, and they collaborated on vast murals for the Paris Exposition of 1937. After her husband’s death in 1941, Delaunay continued to work as a painter and designer, and she lived to see the mounting of retrospectives of her work by major museums from the 1950s onward. In 1964 she became the only woman to have had an exhibition at the Louvre Museum in her own lifetime.
Theo van Doesburg was a Dutch painter, writer, poetand architect. He is best known as the founder of De Stijl. After a short training in acting and singing he decided to become a painter. His first exhibition was in 1908. Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh. This suddenly changed in 1913 after reading Wassily Kandinsky's Rückblicke. It made him realize there was a more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. In 1915 he came in contact with the works of Piet Mondrian, who was eight years older, and had by then already gained some attention. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Van Doesburg got in contact with Mondrian, and together with several other artists founded the magazine De Stijl in 1917.
Van Doesburg was the 'ambassador' of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius. While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism. Dadaism, and De Stijl. In 1923 Van Doesburg moved to Paris. During 1924 Doesburg and Mondrian had disagreements, which eventually led to a (temporary) split. The exact reason for this split has been a point of contention; usually the divergent ideas about the directions of the lines have been named as the primary reason: Mondrian never accepted diagonals, whereas Doesburg featured them in his art. After the split, Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism.
Oil on canvas; 160 x 130 cm.
Serge Poliakoff was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris (Tachisme). He was born in Moscow in 1906, the thirteenth of fourteen children. His father, a Kyrgyz, supplied the army with horses that he bred himself and also owned a racing stable. His mother was heavily involved with the church, and its religious icons fascinated him. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist.
He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumière. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich.
With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Gérard Schneider, Giloli, Victor Vasarely, and Jean Dewasne. By the beginning of the 1950s, he was still staying at the Old Dovecote hotel near Saint-Germain-des-Prés, which was also home to Louis Nallard and Maria Manton, and continuing to earn a reliable income by playing the balalaika. A contract enabled him to quickly gain better financial stability.
In 1962 a room was given over to his paintings by the Venice Biennial, and Poliakoff became a French citizen in the same year. His works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationale de Sèvres. He influenced the paintings of Arman.
Acrylic on canvas; 100 x 100 cm.
Bruno Munari was an Italian artist and designer, who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphics) and non visual arts (literature, poetry) with his research on games, infancy and creativity.
Bruno Munari was born in Milan but spent his childhood and teenage years in Badia Polesine. In 1925 he returned to Milan where he started to work with his uncle who was an engineer. In 1927, he started to follow Marinetti and the Futurist movement, displaying his work in many exhibitions. Three years later he associated with Riccardo Castagnedi (Ricas), with whom he worked as a graphic designer until 1938. During a trip to Paris, in 1933, he met Louis Aragon and André Breton. From 1939 to 1945 he worked as a press graphic designer for the Mondadori editor, and as art director of Tempo Magazine. At the same time he began designing books for children, originally created for his son Alberto.
In 1948, Munari, Gillo Dorfles, Gianni Monnet and Atanasio Soldati, founded Movimento Arte Concreta (MAC), the Italian movement for concrete art.
Oil on canvas; 92 x 65.5 cm.
Ejler Bille was a Danish artist. Born in Odder, Denmark, he studied at the Kunsthåndværkerskolen in Copenhagen, with Bizzie Høyer 1930-1932 and the Royal Danish Academy of Art, 1933. In 1934 he joined Linien, Corner in 1940 and CoBrA in 1949. He had concentrated on small sculptures, but moved into painting after joining CoBrA. In 1969 he was Guest Professor at the Royal Danish Academy of Art.
Bille made his début as a sculptor at the Kunstnernes Efterårsundstilling (Artists’ Autumn Exhibition) in Copenhagen in 1931. He became interested in abstract art very early in his career; in 1933, with the artist Vilhelm Bjerke-Petersen, he was one of the first artists in Denmark to exhibit abstract sculptures and paintings. In 1934 Bille was a founder-member with Richard Mortensen and Bjerke-Petersen of the artists’ group Linien (The Line), whose journal of the same name he also co-edited. During Bille’s many trips abroad in the 1930s he was particularly stimulated by the work of Alberto Giacometti, Hans Arp and Max Ernst. His originality was nevertheless clearly apparent in the early sculptures, which often used animals as subjects, for example Marten (1931) and Walking Form (1933–6; both Copenhagen, Stat. Mus. Kst).
Oil on board; 24 x 32 cm.
Esphyr Slobodkina was born in Siberia in 1908. In the wake of the Russian Revolution, her family fled to Vladivostok before settling in Harbin, Manchuria. In 1928 Slobodkina immigrated to New York City. She enrolled in the National Academy of Design the following year primarily to meet the requirements of her student visa. It was through a fellow student at the Academy that Slobodkina met her future husband Ilya Bolotowsky, the student's brother. A progressive thinker who had yet to experiment with abstraction in his own painting, Bolotowsky introduced Slobodkina to modern theories of art, particularly in relation to form, color and composition. Associations with Balcomb and Gertrude Greene, Byron Browne and Giorgio Cavallon further exposed Slobodkina to the ideas of these pioneer abstract artists and sparked a personal interest in the movement.
An invitation to the Yaddo artist colony brought Slobodkina and Bolotowsky to Saratoga Springs, New York in the early 1930s. It was during this visit that Slobodkina began tentative experimentation with abstraction, leading to her first Cubist-inspired work in 1934. Around this time Slobodkina's family moved to New York City, which temporarily sidelined her artistic progression as she was under great financial pressure to help support them. Alongside her mother, Slobodkina opened a dress shop, where she both designed and made the clothing. She also worked at a number of textile design firms throughout these years.
In 1935 Slobodkina separated from Ilya Bolotowsky and joined the Works Progress Administration. She also became very active in the Artists' Union, designing posters for them in paper collage. It was through the collage medium that she was able to develop her abstract style. By 1936 she had fully embraced abstraction as a means of artistic expression and her paintings reflected her interest in collage with their flat, layered forms and carefully constructed arrangements. In the mid-1930s Slobodkina created several Surrealist-inspired sculptures made of wood, wire, and found objects, in addition to her paintings. In 1937 she became a founding member of the American Abstract Artists and went on to be the group's president in later years.
Upon meeting Margaret Wise Brown, the children's books author, in 1937, Slobodkina was inspired to try her hand at book illustration. She provided the illustrations for Brown's The Little Fireman before writing and illustrating her own books, most notably Caps for Sale, published in 1938. In the early 1940s Slobodkina found a patron in A. E. Gallatin who purchased two of her works for his Museum of Living Art. Slobodkina was asked to participate in the important exhibition Eight by Eight: Abstract Painting Since 1940 at the Philadelphia Museum of Art in 1945 which also featured Charles Green Shaw, George L.K. Morris, A.E. Gallatin, Suzy Frelinghuysen, Ilya Bolotowsky, Alice Trumbull Mason, and Ad Reinhardt. She was a regular exhibitor in the Whitney Museum of American Art's annuals through the 1950s. In 1957 Slobodkina was invited back to Yaddo and in 1958 she took her first of two trips to the MacDowell Colony in New Hampshire. Slobodkina's successes as an artist continued until her death in 2002.