View allAll Photos Tagged geometricabstraction
Oil on masonite; 89 x 116 cm.
Nasce a Parma il 1896. Nel 1925 si trasferisce a Milano, dove tiene una serie di personali nel 1931, 1933, 1935 e 1939 alla Galleria del Milione.
Nel 1948 dà vita al gruppo MAC con Monnet, Dorfles e Munari.
A Milano, espone alla Libreria Salto nel 1949 e alla Galleria Bergamini nel 1951 e 1952.
Da un suo bozzetto viene realizzato, nel 1951, un mosaico per la Casa a Undici piani del Gruppo INA, sito nel QT8 di Milano. Nel 1952 la XXIV Biennale di Venezia riserva al parmense una sala personale, con opere dal 1930 al 1952.
GOOGLE "TRANSLATION":
Born in Parma in 1896. In 1925 he moved to Milan, where he held a series of solo in 1931, 1933, 1935 and 1939 at the Gallery of the Million.
In 1948 he founded the group MAC Monnet, Dorfles and Munari.
In Milan, he exhibited at the Library in 1949 and jump to the Galleria Bergamini in 1951 and 1952.
From his sketch was produced in 1951, a mosaic for the eleven-storey house of the INA Group, located in Milan QT8. In 1952, the XXIV Biennale di Venezia Parma subject to a personal room, with works from 1930 to 1952.
Oil on canvas; 62 x 160 cm.
Emilio Pettoruti was an Argentine painter, who caused a scandal with his avant-garde cubist exhibition in 1924 in Buenos Aires. At the beginning of the twentieth century, Buenos Aires was a city full of artistic development. Pettoruti's career was thriving during the 1920s when "Argentina witnessed a decade of dynamic artistic activity; it was an era of euphoria, a time when the definition of modernity was developed." While Pettoruti was influenced by cubism, futurism, constructivism, and abstraction, he did not claim to paint in any of those styles in particular. Exhibiting all over Europe and Argentina, Emilio Pettoruti is remembered as one of the most influential artists in Argentina in the 20th century for his unique style and vision.
Born and trained in Germany, he moved to America during the Nazi era. His specialty was geometric abstraction and color study. Albers' work represents a transition between traditional European art and the new American art. His work incorporated European influences from the constructivists and the Bauhaus movement, and its intensity and smallness of scale were typically European. However, his influence fell heavily on American artists of the late 1950s and the 1960s. "Hard-edge" abstract painters drew on his use of patterns and intense colors, while Op artists and conceptual artists further explored his interest in perception.
Born and trained in Germany, he moved to America during the Nazi era. His specialty was geometric abstraction and color study. Albers' work represents a transition between traditional European art and the new American art. His work incorporated European influences from the constructivists and the Bauhaus movement, and its intensity and smallness of scale were typically European. However, his influence fell heavily on American artists of the late 1950s and the 1960s. "Hard-edge" abstract painters drew on his use of patterns and intense colors, while Op artists and conceptual artists further explored his interest in perception.
Fall 2012 - Geometric Abstract Art in Paintings and Prints and Contemporary Photographic Prints by Contemporary Artist Bryce Hudson.
As always, everything can be seen at www.brycehudson.com
Watercolor on wove paper, mounted on cardboard; 48.3 x 32.1 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
Altman was born in Vinnytsia, Imperial Russia. From 1902 to 1907 he studied painting and sculpture at the Art College in Odessa. In 1906 he had his first exhibition in Odessa. In 1910 he went to Paris, where he studied at the Free Russian Academy, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, and David Shterenberg. In 1910 he became a member of the group Union of Youth. His famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. After 1916 he started to work as a stage designer.
In 1918 he was the member of the Board for Artistic Matters within the Department of Fine Arts of the People's Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In 1920 he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin and others. In the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. From 1920 to 1928 he worked on stage designs for the Habimah Theatre and the Jewish State Theatre in Moscow. In 1923 a volume of his Jewish graphic art was published in Berlin. In 1925 he participated in Exposition Internationale des Arts Decoratifs et Industriels Moderns (Art Deco) in Paris. His first solo exhibition in Leningrad was in 1926.
Ink on cardboard; 43 x 51 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
Oil on board; 60.3 x 81.6 cm.
Arthur Segal was a Romanian artist and author. Segal was born to Jewish parents in Iaşi, Romania, and studied at the Berlin Academy from 1892. He studied with Schmid-Reutte and Hölzel in Munich in 1896, and later studied in Paris and Italy in the early 1900s.
After studying in Paris and Italy, he eventually moved to Berlin in 1904 where he exhibited his work with Die Brucke and Der Blaue Reiter, two leading German expression groups. In 1910 he co-founded the Neue Sezession, a group of artists whose work was rejected by the Berliner Sezession.
On the outbreak of war in 1914 he moved to Ascona, Switzerland with his family, and remained there until 1920. During the war, Switzerland became a refuge for many artists like Segal, and whilst he was there he exhibited some of his work with Arp and Dada in the Cabaret Voltaire in Zurich. In 1920, he returned to Berlin, where he founded his own art school in 1923, Novembergruppe. In 1925 he was offered a teaching job in New Bauhaus in Dessau, but he declined. Because of his Jewish background he was prevented from exhibiting his work in Germany, and so in 1933 he moved to Palma, Majorca and then London, where he set up another school with his daughter Marianne. He died in London.
Segal was firstly a painter, and his early work was heavily influenced by impressionism and neo-impressionism. From around 1910 he began a more expressionism and dadaism style, and around 1916 found his own modern style. As well as painting, he also produced woodcuts from 1910, many of which were anti-war themed. Segal was also the author of many books, articles, and often gave lectures. His son was the architect Walter Segal.
Pierre Clerk
Rock Island
14" x 18"
(Framed archival, Float mount)
Image is approx 12" in Diameter
2 Color Screen Print on Heavy paper
1971
Published by Light Editions Ltd. of New York
Provenance: First sold by the now defunct Phillips Gallery in Houston Texas
Acquired at Auction in 2011
Acrylic on canvas; Diameter: 165 cm.
American abstract painter and sculptor; also writer and photographer. Born in Kiev, Russia. Studied painting at the Académie Andre Lhote in Paris 1929-31 and architecture with Auguste Perret at the Ecole des Beaux-Arts 1930-2. Art Editor of the magazine Vu 1933-6; made the film La Femme Française (one of the first colour films on painting) with the Louvre 1936. Moved to New York in 1941 and became a US citizen 1946. Joined Vogue magazine 1941; became Art Director of Vogue 1943, Art Director of Condé Nast Publications in the US and Europe 1944, and the organisation's Editorial Director 1962. Began in 1950 to paint in a hard-edge style, with sharply defined shapes (especially circles of different sizes), smooth surfaces and intense hues. Also made sculptures from the early 1950s, with flat cut-out metal shapes and cylindrical volumes; in 1960 started to weld. First one-man exhibition at the Betty Parsons Gallery, New York, 1960. From c.1963 turned away from hard-edge to a form of action painting, including spattered, blotted and poured colour. Published The Artist in his Studio 1960, and Greece, Gods and Art 1968. Lives in New York.
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.435
Acrylic on wood; 121.9 x 22.9 x 14.0 cm.
Ilya Bolotowsky was a leading early 20th-century painter in abstract styles in New York City. His work, a search for philosophical order through visual expression, embraced cubism and geometric abstraction and was much influenced by Dutch painter Piet Mondrian.
Born to Jewish parents in St. Petersburg, Russia, Bolotowsky immigrated to America in 1923 via Constantinople, settling in New York City. He attended the National Academy of Design. He became associated with a group called "The Ten Whitney Dissenters," or simply "The Ten," artists, including Louis Schanker, Adolph Gottlieb, Mark Rothko and Joseph Solman, who rebelled against the strictures of the Academy and held independent exhibitions.
During this period, Bolotowsky came under the influence of the Dutch painter Piet Mondrian and the tenets of neoplasticism, a movement that advocated the possibility of ideal order in the visual arts. Bolotowsky adopted his mentor's use of horizontal and vertical geometric pattern and a palette restricted to primary colors and neutrals.
In 1936, having turned to geometric abstractions, he was one of the founding members of the American Abstract Artists, a cooperative formed to promote the interests of abstract painters and to increase understanding between themselves and the public.
He taught at Black Mountain College during the period 1946-1948, Kenneth Noland was among his students.
Bolotowsky's mural for the Williamsburg Housing Project in Brooklyn, was one of the first abstract murals done under the Federal Art Project. Despite Bolotowsky's clear, precise control of his images, he emphasized the role of intuition over formula in determining his compositions.
In the 1960s, he began making three-dimensional forms, usually vertical and straight-sided. He taught humanities and fine arts at the Southampton, New York campus of Long Island University.
Color lithograph; 76 x 56 cm.
John Armleder is a Swiss performance artist, painter, sculptor, critic, and curator. His work is based on his involvement with Fluxus in the 1960s and 1970s, when he created performance art pieces, installations and collective art activities that were strongly influenced by John Cage. However, Armleder's position throughout his career has been to avoid associating his artistic practice with any type of manifesto.
Armleder studied at the Ecole des Beaux-Arts, Geneva (1966-7) and at the Glamorgan Summer School, Britain (1969). In 1969, with Patrick Lucchini and Claude Rychner, Armleder founded the Groupe Ecart in Geneva, from which stemmed the Galerie Ecart and its associated performance group and publications. The Groupe Ecart was particularly important in Europe during the 1970s and 1980s, not only through its activity as an independent publishing house, but also because it introduced in Switzerland - and sometimes in Europe - a large number of notable artists, including Joseph Beuys and Andy Warhol. Armleder was later associated with Neo-Geo artistic movement and was often referred to as the "darling" of the New York art critics in this period (1980s).
In 2004, a retrospective exhibition of his works on paper was shown at the Kunsthalle Zürich in Zurich, Switzerland, and later traveled to the ICA in Philadelphia. In the winter of 2006-2007, a large exhibition including works from all eras of his career was shown at the Museum of Modern and Contemporary Art (Mamco) in Geneva, Switzerland.
David Roth at the opening ;-)
Fall 2012 - Geometric Abstract Art in Paintings and Prints and Contemporary Photographic Prints by Contemporary Artist Bryce Hudson.
As always, everything can be seen at www.brycehudson.com
Gouache on paper; 38.1 x 33 cm.
Young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry and wandering through nearby Montmartre. After completing his secondary schooling, Gleizes spent four years in the French army then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger and Henri Le Fauconnier.
Gleizes' evolving cubism saw him exhibit at the Salon des Indépendants in Paris in 1910 then collaborate with Jean Metzinger to produce a theoretical essay about cubism that was published in 1912. In the fall of that year, he and Metzinger joined the Puteaux Group led by Jacques Villon and his brother Marcel Duchamp. In February 1913, Gleizes and other artists introduced the new style of painting to an American audience at the Armory Show in New York City.
17 x 28
Fluid acrylics on canvas
2015
You can see more of my paintings at my blog, Exploring Geometric Abstraction.
Tempera on panel; 75 x 52 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...
2011 (#3)
Acrylic and Oil on Arches Water Color Paper
22" x 30"
2011
All of the recent paintings in a collection are here:
Geometric Abstraction by Bryce Hudson on Flickr
My website with all of the work in all media is at:
Come and join me on Facebook - I love connecting with other artists and art/design enthusiasts!:
I am very much influenced by geometric abstraction and the Neoplasticism movement from the early and mid 20th century.y.
Dutch painter, theorist and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of DE STIJL, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title NEO-PLASTICISM. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and color, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most modern art. His artistic integrity caused him to be honored as a classical master by artists who were aligned with entirely different styles, as well as by musicians and architects. He was able to make a living from the sale of his works in the Netherlands, Germany, Switzerland, England and the USA.
I have always wanted a limited edition serigraph of one of my pieces so I worked with a company in Chicago, ILL to produce a very complicated limited edition serigraph! 8 colors (event the white is a color). It about drove them crazy, but now they are done!
Bryce Hudson
Untitled (p)- 2011 (#1)
8 Color Serigraph (silkscreen) on Archival Coventry Rag Paper
26 " x 27"
2011
Edition: 50, 5AP
Signed, Numbered and Dated on lower
From the painting:
Untitled (p)- 2011 (#1)
Acrylic and Oil on Canvas
44 " x 44"
2011
Signed on Back
Yes, they are for sale ;-)
As always, I'm at www.brycehudson.com stop by - say hi ;-)
Oil on canvas; 116.2 x 88.9 cm.
Lucio Fontana was born in Argentina. His father was Italian and his mother Argentinean. He lived in Milan from 1905 to 1922 and then moved back to Argentina, where he worked as a sculptor in his father’s studio for several years before opening his own. In 1926, he participated in the first exhibition of Nexus, a group of young Argentinean artists working in Rosario de Santa Fé. Upon his return to Milan in 1928, Fontana enrolled at the Accademia di Belle Arti di Brera, which he attended for two years.
The Galleria Il Milione, Milan, organized Fontana’s first solo exhibition in 1930. The artist traveled to Paris in 1935 and joined the Abstraction-Création group. The same year, he developed his skills in ceramics in Albisola, Italy, and later at the Sèvres factory, near Paris. In 1939, he joined the Corrente, a Milan group of expressionist artists. In 1940, Fontana moved to Buenos Aires. With some of his students, he founded in 1946 the Academia de Altamira from which emerged the Manifiesto Blanco group. He moved back to Milan in 1947 and in collaboration with a group of writers and philosophers signed the Primo manifesto dello Spazialismo.
The year 1949 marked a turning point in Fontana’s career; he concurrently created the Buchi, his first series of paintings in which he punctured the canvas, and his first spatial environment, a combination of shapeless sculptures, fluorescent paintings, and black lights to be viewed in a dark room. The latter work soon led him to employ neon tubing in ceiling decoration. In the early 1950s, he participated in the Italian Art Informel exhibitions. During this decade, he explored working with various effects, such as slashing and perforating, in both painting and sculpture. The artist visited New York in 1961 during a show of his work at the Martha Jackson Gallery. In 1966, he designed opera sets and costumes for La Scala, Milan.
In the last year of his career, Fontana became increasingly interested in the staging of his work in the many exhibitions that honored him worldwide, as well as in the idea of purity achieved in his last white canvases. These concerns were prominent at the 1966 Venice Biennale, for which he designed the environment for his work, and at the 1968 Documenta in Kassel. Fontana died in Comabbio, Italy.
Collaboration with: M Hunt - Art Abstractov
A series of works: "1/4 Deformations"
street-art gallery "Бэкграунд"
Art Loft, Samara, Russia / 2017
Oil on canvas; 97.2 97.2 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.
Oil and sand on canvas; 127 x 109 cm.
Giuseppe Santomaso was born in Venice. He studied at the Accademia di Belle Arti there from 1932 to 1934. In 1938 he began his work in graphics. In 1939 the artist traveled to Paris on the occasion of his first solo exhibition at the Galerie Rive Gauche. Santomaso participated in the Quadriennale of Rome in 1943 and executed illustrations for Paul Eluard’s Grand Air in 1945. In 1946 he was a founding member of the antifascist artists’ organization Nuova Secessione Artistica Italiana—Fronte Nuovo delle Arti in Venice.
Since 1948 Santomaso has participated often in the Venice Biennale, where he was awarded the Prize of the Municipality of Venice in 1948 and First Prize for Italian Painting in 1954. He received the Graziano Prize from the Galleria del Naviglio in Milan in 1956 and the Marzotto Prize at the Mostra internazionale di pittura contemporanea in Valdagno in 1958, among other awards. Santomaso taught at the Accademia di Belle Arti in Venice from 1957 to 1975. Particularly important for the development of his non-objective style is the journey to New York in 1957, on the occasion of his first exhibition in the United States at the Grace Borgenicht Gallery, during which the artist met the leading members of the Abstract expressionism. The Stedelijk Museum in Amsterdam gave the artist a solo exhibition in 1960. In 1961 he participated in the São Paulo Bienal and he traveled to Brazil the following year. A Santomaso retrospective toured from the Kunstverein in Hamburg to the Haus am Lützowplatz in Berlin and the Museum am Ostwall in Dortmund in 1965–66. In the meantime, the artist continue to produce graphic works. He contributed lithographs to On Angle, a book of Ezra Pound’s poetry published in 1971. His work appeared in the International Engraving Biennial in Cracow in 1972 and 1978. Solo exhibitions of his work were presented in 1979 by the Fondacio Joan Miró in Barcelona and the Staatsgalerie Moderner Kunst in Munich. The Borgenicht Gallery organized a Santomaso show for the spring of 1983.
2011 (#4)
Acrylic and Oil on Arches Water Color Paper
22" x 30"
2011
All of the recent paintings in a collection are here:
Geometric Abstraction by Bryce Hudson on Flickr
My website with all of the work in all media is at:
Come and join me on Facebook - I love connecting with other artists and art/design enthusiasts!:
I am very much influenced by geometric abstraction and the Neoplasticism movement from the early and mid 20th century.
PLEASE VIEW LARGE
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My website: www.hollycawfieldphotography.net/
My Other Flickr Photostream:
www.flickr.com/photos/188106602@N04/
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Me: Bryce Hudson ;-)
Fall 2012 - Geometric Abstract Art in Paintings and Prints and Contemporary Photographic Prints by Contemporary Artist Bryce Hudson.
As always, everything can be seen at www.brycehudson.com
Gouache on cardboard; 43 x 53 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
Oil on canvas; 81 x 100 cm.
Alberto Magnelli was an Italian modern painter who was a significant figure in the post war Concrete art movement. Born in Florence he started painting and, despite lacking formal art education, by 1909 he was established enough to be included in the Venice Biennale. His initial works were in a Fauvist style. Magnelli joined the Florentine avant-garde befriending artists including Ardengo Soffici and Gino Severini. He also visited Paris where he met Guillaume Apollinaire and the Cubists including Pablo Picasso, Fernand Léger, and Alexander Archipenko. By 1915 had adopted an abstract style incorporating cubist and futurist elements.
Over the next few years Magnelli returned to figurative work and drifted away from the Italian avant-garde, which was becoming more supportive of Fascism, which he opposed. By 1931 he had returned to abstraction in the form of concrete art featuring geometric shapes and overlapping planes. He moved to Paris, where he joined the Abstraction-Création group and became friends with Wassily Kandinsky, Jean Arp and Sophie Taeuber. Following the invasion of France by the Nazis, Magnelli and his future wife, Susi Gerson, went to live in Grasse with several other artists including the Arps. Some of the group, including Gerson, were Jewish so they were forced to hide. Despite this, the group was able to produce a number of collaborative works.
Following the Second World War, Magnelli returned to Paris which was to be his home for the rest of his life. He became a major figure in the post war concrete art movement and influenced artists such as Victor Vasarely, Nicolas de Staël as well as the concrete artists in South America such as Hélio Oiticica. He again exhibited at the Venice Biennale, this time with a whole room. Major galleries organized retrospectives of his work
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My website: www.hollycawfieldphotography.net/
My Other Flickr Photostream:
www.flickr.com/photos/188106602@N04/
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The controversial painter, sculptor and installation artist Damien Hirst is one of the world's most commercially successful contemporary artists. A leading member of the postmodernist generation known as Young British artists, he first came to prominence in the 1990s for his series of dead animals preserved and floating in formaldehyde. Influenced by Francis Bacon, his most famous works of avant-garde art include A Thousand Years (1989), a glass case with maggots and flies feeding off a rotting cow's head; The Physical Impossibility of Death in the Mind of Someone Living (1991), a tiger shark in a glass tank of formaldehyde and For The Love of God, a platinum cast of an 18th century human skull covered in £15,000,000 worth of diamonds. Hirst is also known for his 'spin paintings,' manufactured on a rotating circular surface, and 'spot paintings,' consisting of rows of randomly-colored dots or circles.
Hirst has been praised by many for galvanizing interest in the British arts and in helping to create the image of a 'Cool Britannia'. Moreover, a large number of art professionals and experts have been quick to acknowledge his prowess in marketing works of art. Even so, his critics are no less vocal. A Daily Mail headline stated "For 1,000 years art has been one of our great civilizing forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all." Artist Charles Thomson of the The Stuckist Art Group wrote of Hirst's works: "They're bright and they're zany - but that's all there is at the end of the day." And in a 2008 TV documentary The Mona Lisa Curse, the respected modern art critic Robert Hughes attacked Hirst's work as 'tacky' and 'absurd' . However, despite the sceptics, Hirst continues to be a best-seller and, despite a bust-up with his erstwhile patron Charles Saatchi, the latter remains a staunch supporter of Hirst's artistic talent, commenting: "general art books dated 2105 will be as brutal about editing the late 20th century as they are about almost all other centuries. Every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote."
2011 (#5)
Acrylic and Oil on Arches Water Color Paper
22" x 30"
2011
All of the recent paintings in a collection are here:
Geometric Abstraction by Bryce Hudson on Flickr
My website with all of the work in all media is at:
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I am very much influenced by geometric abstraction and the Neoplasticism movement from the early and mid 20th century.
Untitled Composition (#17) 2012
Acrylic and Oil on Canvas
44 " x 88" x 2"
Signed and dated on Verso
I'm at www.brycehudson - Stop by, say hi!
A photo of this piece installed at the studio is here: www.flickr.com/photos/31207458@N07/7097333347/in/set-7215...
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
Tapestry "high-warp" Wool; 210 x 171 cm.
BIO TRANSLATED FROM GERMAN BY GOOGLE TRANSLATE:
Mirko Basaldella (born September 28, 1910 in Udine, Italy; † 24 November 1969 in Cambridge, Massachusetts, USA) was an Italian-American sculptor, painter and draftsman.
Mirko Basaldella named with artist's name usually only "Mirko". He comes from an artistic family, his brothers and Afro Dino Basaldella were also artists of international standing.
Mirko Basaldella studied art at the Accademia di Belle Arti di Firenze "and the" Scuola di arti applicate di Monza "by Arturo Martini. Martini, he works with at Monza in 1930 together until 1932. Between 1932 and 1934, both brothers are working in Milan in Afro and Mirko Arturo Martini's studio.
His first important exhibition was Mirko but already in October 1928, where he participated with his two brothers Dino and Afro Basaldella and Alessandro Filipponi at the Scuola della I ° Mostra d'friulana avanguardia (I ° exhibition of avant-garde school Friuli).
In 1934, Mirko moved to Rome. In Rome he is with his brother and other artists in the gallery "Comet" from. Also in 1934, his work is exhibited in the "Galleria Sabatello" in Rome. He made primarily bronze sculptures. In 1936, his first solo exhibition follows in the gallery "Comet". Also in 1936 Mirko participants of the Venice Biennale and is in the same year with his brother in the Afro Gallery "Mint" in Turin. In the following years, Mirko including exhibitions in Rome and New York.
In the years 1946-1947 Mirko picturesque experimented with post-cubist and a style similar to the Metaphysical painting imagery.
In the years 1948 to 1954, Mirko numerous solo exhibitions in New York, Rome and Milan, and creates a number of monumental sculptures. Mirko is a participant of documenta 1 (1955) and Documenta II in Kassel in 1959.
Mirko 1957 draws in the U.S. and is there until his death in 1969, director of design workshops (sculpture) at Harvard University in Boston.