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It was late at night, I stood on the balcony and looked up at the sky. The stars seemed dim, and it made me feel weird. There were lots of clouds, and they made the stars muted. The painting was surreal. But still, there was no anxiety or fear.
Suddenly, a luminous dot began to move in the sky. That day, a satellite was launched and this information was everywhere in the media. Nothing unusual, the first thought in my head. But gradually the luminous dots became more and more, they moved in a well-defined orbit, sometimes at different distances from each other, sometimes close, sometimes farther away. Slowly, one after another, at different intervals, they flew through the sky into the dark clouds.
Some glowed and did not flicker, some gave themselves extra speed and began to glow brighter. The stars didn't look real, they seemed like satellites hanging in the sky.
There seemed to be something up there other than satellites, it watching both them and us. It was as if something had changed inside, another world had been born. It was easy, unexpected, few people understood it at that time. That's how we got to the next level. We opened the doors without knowing what was coming next.
This is my rethinking "Still life with apples". Instead of a metal can, I decided to add a several transparent plates, not one as in the original. The apples are chaotically scattered on a tablecloth that the viewer looks down on. The general rhythm sets the movement, some apples roll and fall from the table, some stopped. I also split the table into two parts, the first part farther away, the second part closer. It's just two angles, different looks. We look from a distance, and we get closer. What I was most interested in was color. The compositional component came out by itself.
For me it's summer, fresh harvest, the taste of something sweet, rain, warmth and comfort at home during a storm, calmness and a reminder that nothing stands still. The process is cyclical. What we see before us today, we can see in a year. It's something that exists but is absent at the same time, an instant.
17x28
Fluid acrylics on canvas
2015
You can see more of my paintings at my blog, Exploring Geometric Abstraction.
Oil on canvas; 128 x 201.5 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
Bryce Hudson
Untitled Composition #40
48" x 48" x 2.25"
Acrylic on Canvas
2014
My first painting of 2014!!
More at www.brycehudson.com
Jacqueline Debutler
Sculpture Abstraite
Size: 20" x 26"
Circa 1968
4 Color Lithograph on White Wove Paper
Signed by the artist Lower Right
Numbered 83/120 Lower Left
Acquired at auction - September 2012
Acrylic on canvas; 238.7 x 238.7 cm.
OLITSKI, JULES (1922– ), U.S. painter, sculptor, and printmaker. Born Jules Demikovsky in Russia, Olitski immigrated to the United States in 1923 and grew up in New York. He studied painting and drawing at the National Academy of Design (1940–42) and sculpture at the Beaux-Arts Institute of Design (1940–42) in New York. He served in the Army during World War II (1942–45), before which he became an American citizen and adopted his stepfather's surname. In 1947 Olitski studied sculpture at the Educational Alliance with Chaim *Gross. Under the GI Bill, Olitski received additional art instruction at the Académie de la Grande Chaumiére (1949–50) and with the sculptor Ossip Zadkine (1949) in Paris. In an effort to transcend his academic training, Olitski made a series of vigorously rendered paintings while blindfolded. He had his first solo exhibition in Paris (1951), where he showed partially abstract, brightly colored paintings. Upon his permanent return to the United States he received a B.S. (1952) and an M.A. (1954) in art education from New York University. Responding to his vibrantly hued Parisian works, during this transition period Olitski made monochrome abstractions and experimented with heavily impastoed imagery in the late 1950s.
Throughout Olitski's career he explored varied modes of color field painting. Adopting a technique made popular by Helen *Frankenthaler and Morris *Louis, in 1960 Olitski started to stain large canvases with hard-edge, oblong shapes; Born in Snovsk (1963, Art Institute of Chicago) is one of several paintings in the Core series. In 1964 Olitski applied paint to canvases with spray cans and later with a spray gun. Color mists hover and subtle hues of pink dissolve into each other in Ishtar Melted (1965, Princeton University Art Museum). During the 1970s, Olitski reacted against the spray technique and composed abstractions with tactile, dense, often dull-colored paint. Iridescent paintings followed, in which he applied gobs of paint with mittened hands. Temptation Temple (1992, collection unknown) exemplifies this period with the energetic texture and sense of relief created by the thick metallic brown color interwoven with highlights of green, purple, and blue.
Olitski began making prints in 1954. His forays into printmaking yielded a wide range of imagery from representational self-portraits to abstractions. Colored silkscreens from the early 1970s are pure abstractions of color akin to his paintings of the period. In 1968 Olitski designed his first sculptures – aluminum abstractions colored with a spray gun. His sculptures are typically produced in series, such as the Ring series (1970–73), a group of works comprised of concentric circles made of thin sheet steel. Olitski's art has been publicly exhibited on numerous occasions. Notably, Olitski represented the United States at the 1966 Venice Bienniale; he was the first living American artist to have a one-person show at the Metropolitan Museum of Art (1969); and in 1973 he enjoyed a retrospective at the Museum of Fine Arts in Boston.
BIBLIOGRAPHY:
K. Moffett, Jules Olitski (1981); K. Wilkin and S. Long, The Prints of Jules Olitski: A Catalogue Raisonné, 1954–1989 (1989); B. Rose, Jules Olitski: Recent Paintings (1993).
"kazar le souvenir stellaire" acrylique sur toile 100x200 cm 2017 projet ruban pour Astroglyphe photo: Alex Perret
Acrylic on wood panel; 17.8 x 12.7 cm.
Liu Ye (simplified Chinese: 刘野; traditional Chinese: 劉野; pinyin: Liú Yě; born in 1964) is a Beijing-based contemporary Chinese painter known for his bright-hued paintings of childlike female figures, his favorite cartoon character Miffy the bunny and works inspired by Piet Mondrian.[1] Liu Ye is part of a generation of artists who grew up during the Cultural Revolution. However, unlike most acclaimed Chinese contemporary art, his works have little political implications. Instead, he prefers to use a universal language to depict his inner world. His work has been exhibited extensively in China, Europe and the United States.
Liu Ye’s interest in Western art and his experience studying in Berlin distinguishes him from many of his contemporary Chinese artists who have turned their art as a weapon against the Communist Regime after the Tiananmen Square protest in 1989. As the art historian Pi Li says,"The major difference between him and his contemporaries was that he did not go through the period of rage around 1989 [following the Tiananmen Square massacre], nor did his works contain elements of 'collective' images." [5] Around the same period of time, Liu Ye was witnessing the change in Europe as the Berlin Wall came down, touring Europe’s art museums and studying masters of Western modernism like Paul Klee and Johannes Vermeer.[6] Instead of focusing on his Chinese origin, Liu Ye embraces some more universal themes like beauty, feeling and hope in his works.[7] As he puts it, " Seeking beauty is the last chance for human beings. It is like shooting at the goal; it arouses an emotion that is wild with with joy." [8] By the time Liu Ye went back to China in 1994, his works were deeply influenced by German Expressionism, showing intense personal expression with an overall gloomy tone.[9] The works by Mondrian as a symbol and the Mondrian composition had already appeared in a lot of his work. Mirror, his self-portray, and the surrealism of René Magritte are other important indicators of his early work. During this period, Liu started to depict a little scenario in each of his work, which continues to be one of his recognizable styles. After 1994, as Liu Ye returned to Beijing, his style and subject matters changed with the environment. He started to portray himself more as a little boy than a young man as he did before. More female figures appeared. The settings of his painting moved from rooms to theatres where scenes he saw in China as a little boy, his childhood dream were depicted. Chorus, fleet and sailor boys were repetitive subjects portrayed during the period.[10] His preference for using primary colors can be traced to his childhood days in Beijing as well. “I grew up in a world of red,” he recalls, “the red sun, red flags, red scarves with green pines and sunflowers often supporting the red symbols.” [11] By 2000, Liu ye had gradually developed his own distinguishable style. From 2000, Liu ye moved his attention away from himself and started to portray figures he has interest in such as Zhang Ailing[disambiguation needed], Ruan Lingyu, Andersen, Little Mermaid, and so on. At the same time, he started to paint his favorite cartoon character Miffy the bunny as a reflection of himself.[12] Liu Ye fell in love with the cartoon character created by Dick Bruna immediately after he first saw her while he was living in Amsterdam because he saw himself in the bunny, who is seemingly simple but actually extremely intelligent.[13] The Mondrian symbol returned to his work, usually portrayed together with a little girl or boy, sometimes with Miffy as well. Around 2004 and 2005, Liu Ye’s fairytale-like fantasy was replaced by a more mild and realistic style.[14] An adolescent girl is featured repetitively. Some paintings depict her engaging in rather simple activities such reading or embarking on a journey while others contain subtle sexual implications.[15] Vermeer’s influence became increasingly obvious in those works with the evidence of his pursuit of the perfection of human beauty.[16]
Synthetic polymer paint on canvas; 104 x 90 in.
OLITSKI, JULES (1922– ), U.S. painter, sculptor, and printmaker. Born Jules Demikovsky in Russia, Olitski immigrated to the United States in 1923 and grew up in New York. He studied painting and drawing at the National Academy of Design (1940–42) and sculpture at the Beaux-Arts Institute of Design (1940–42) in New York. He served in the Army during World War II (1942–45), before which he became an American citizen and adopted his stepfather's surname. In 1947 Olitski studied sculpture at the Educational Alliance with Chaim *Gross. Under the GI Bill, Olitski received additional art instruction at the Académie de la Grande Chaumiére (1949–50) and with the sculptor Ossip Zadkine (1949) in Paris. In an effort to transcend his academic training, Olitski made a series of vigorously rendered paintings while blindfolded. He had his first solo exhibition in Paris (1951), where he showed partially abstract, brightly colored paintings. Upon his permanent return to the United States he received a B.S. (1952) and an M.A. (1954) in art education from New York University. Responding to his vibrantly hued Parisian works, during this transition period Olitski made monochrome abstractions and experimented with heavily impastoed imagery in the late 1950s.
Throughout Olitski's career he explored varied modes of color field painting. Adopting a technique made popular by Helen *Frankenthaler and Morris *Louis, in 1960 Olitski started to stain large canvases with hard-edge, oblong shapes; Born in Snovsk (1963, Art Institute of Chicago) is one of several paintings in the Core series. In 1964 Olitski applied paint to canvases with spray cans and later with a spray gun. Color mists hover and subtle hues of pink dissolve into each other in Ishtar Melted (1965, Princeton University Art Museum). During the 1970s, Olitski reacted against the spray technique and composed abstractions with tactile, dense, often dull-colored paint. Iridescent paintings followed, in which he applied gobs of paint with mittened hands. Temptation Temple (1992, collection unknown) exemplifies this period with the energetic texture and sense of relief created by the thick metallic brown color interwoven with highlights of green, purple, and blue.
Olitski began making prints in 1954. His forays into printmaking yielded a wide range of imagery from representational self-portraits to abstractions. Colored silkscreens from the early 1970s are pure abstractions of color akin to his paintings of the period. In 1968 Olitski designed his first sculptures – aluminum abstractions colored with a spray gun. His sculptures are typically produced in series, such as the Ring series (1970–73), a group of works comprised of concentric circles made of thin sheet steel. Olitski's art has been publicly exhibited on numerous occasions. Notably, Olitski represented the United States at the 1966 Venice Bienniale; he was the first living American artist to have a one-person show at the Metropolitan Museum of Art (1969); and in 1973 he enjoyed a retrospective at the Museum of Fine Arts in Boston.
BIBLIOGRAPHY:
K. Moffett, Jules Olitski (1981); K. Wilkin and S. Long, The Prints of Jules Olitski: A Catalogue Raisonné, 1954–1989 (1989); B. Rose, Jules Olitski: Recent Paintings (1993).
Two visitors stand in quiet contemplation before Robert Delaunay’s The Eiffel Tower and the Champ de Mars Gardens at the Hirshhorn Museum in Washington, D.C. Painted in Delaunay’s signature Orphist style, the piece bursts with vibrant greens, yellows, and earthy browns, capturing the dynamism and energy of early 20th-century Paris. Delaunay’s fascination with light and movement is evident in the sweeping curves and intersecting lines that echo the rhythmic pulse of the city and its iconic monument.
One visitor gestures animatedly toward the painting, perhaps highlighting Delaunay’s pioneering use of color theory to express the Eiffel Tower’s dynamic presence against the lush gardens below. The other visitor listens, umbrella in hand, fully engaged in this shared moment of artistic discovery. Their shadows stretch across the minimalist, polished gallery floor, grounding the scene in a human connection to art that transcends time and place.
The painting itself—a geometric tapestry of intersecting planes and bold shapes—epitomizes Delaunay’s revolutionary approach to abstraction, where color and form dance together to evoke the essence of modern life. Through this lens, the Eiffel Tower is not just an architectural marvel but a symbol of human ingenuity and the spirit of innovation that defined Paris in the early 1900s.
As a highlight of the Hirshhorn’s modern collection, Delaunay’s masterpiece invites visitors to reflect on the interplay of structure, color, and imagination. It serves as a testament to the museum’s dedication to fostering conversations around art’s ability to capture and transform our perceptions of the world.
Oil on burlap; 116.5 x 89 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.
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.
Oil on canvas; 30 x 40 in.
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.
Bryce Hudson
Untitled Composition (#22)
Oil and Acrylic on Arches Watercolor Board with Wood and Mixed Media Adhesive
2 Separate pieces consisting of the following:
16″ x 20″ ground (blue-greys, blues and white)
6″ x 8″ piece (red-greys, red, and white)
Total Size: 16″ x 20″ x .5″ (Unframed)
2012
Framed archival – Floating with permanent hinging on white acid-free mat board – Conservation Clear Glass
Signed and dated lower right in pencil.
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.
« Analogikonumerikoglyphe » de l’analogique au digital , du numérique à l astroglyphe Astroglyphe bleu à Château Thierry photo par Alex Perret
©16HWM-NICOBARO
Geometric Abstract Painting by Bryce Hudson
Untitled (#12)
2011
Acrylic and Oil on Arches Water Color Paper
40" x 24"
(image size 38" x 23")
Signed and dated lower right in pencil.
All of the recent paintings in a collection are here:
Geometric Abstraction by Bryce Hudson on Flickr
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I am very much influenced by geometric abstraction and the Neoplasticism movement from the early and mid 20th century.
Gouache on board; 24.1 x 24.8 cm.
Ben Nicholson was an English artist whose austere geometric paintings and reliefs were among the most influential abstract works in British art. The son of the painter Sir William Nicholson, he briefly attended the Slade School of Fine Art in London in 1910–11, but he was largely self-taught. He traveled extensively in Europe between 1911 and 1914, and in 1917 he visited California, keeping a detailed record in sketches of architecture and landscape. About 1920 he began to paint seriously, creating still lifes and landscapes in a conventionally realistic style. During a trip to Paris in 1921, Nicholson saw Cubist works, which influenced his first semi-abstract still lifes; in 1924 he executed his first completely abstract painting.
During the 1920s, along with the sculptors Barbara Hepworth (who became his second wife) and Henry Moore, Nicholson was instrumental in introducing Continental Modernism into English art. In 1933 he and Hepworth joined the Paris-based Abstraction-Création group, an artists’ association that advocated purely abstract art. He also met the Dutch painter Piet Mondrian, under whose influence Nicholson’s work took on a greatly simplified geometry; typical of this period are his low reliefs of whitewashed circles and rectangles, such as White Relief (1937–38). He was co-editor with the artist Naum Gabo and the architect Sir Leslie Martin of Circle, a manifesto published in 1937 to promote Constructivism and other modern art styles in England.
In the 1940s Nicholson returned to landscape and still-life themes, often painting simplified representations of still-life motifs within otherwise largely abstract compositions. In his later work he continued to shift between modes of abstraction and representation.
Whew, after a month in the studio...
Untitled Composition Number 15
Bryce Hudson
48" x 36" x 2.5"
Oil and Acrylic on Canvas
2012
The abstraction continues to independent designs on the sides of the piece, it is more or less a wall sculpture :-)
As always, I am at www.brycehudson.com Stop by, say hi! I throughly enjoy connecting with other artists and mid century art and design enthusiasts :-)
I love my studio. It's an old medical clinic from the late 1920's. It has lots of small rooms that I use for storage and an office. This is the major room where I mostly work and arrange things into oblivion!
I bought the building in 2007 when it was falling apart. I think we're both very happy that I took possession and renovated it from the roof down. The center painting and the triptych on the right are my two latest works ;-)
As always, I'm at www.brycehudson.com stop by and say hi sometime!
More photos of the studio: www.flickr.com/photos/31207458@N07/sets/72157609306943182/
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; 89 x 116.2 cm.
Max Ernst (2 April 1891 – 1 April 1976) was a German painter, sculptor, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and Surrealism.
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My website: www.hollycawfieldphotography.net/
My Other Flickr Photostream:
www.flickr.com/photos/188106602@N04/
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'Chromatic Accelerator' (1967) by Montreal artist Claude Tousignant at the National Gallery of Canada in Ottawa, Ontario, Canada.
Claude Tousignant is a Canadian abstract painter and sculptor who lives and works in Montreal.
Tousignant was born on December 23, 1932 in Montreal, Quebec. He attended the School of Art and Design at the Montreal Museum of Fine Arts from 1948 to 1951.
Collage of gelatin silver prints; 73.7 x 62.2 cm.
Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg.[1] Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
Born in Matsumoto, Nagano into an upper-middle-class family of seedling merchants,[2] Kusama started creating art at an early age, going on to study Nihonga painting in Kyoto in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary mediums, Kusama became a fixture of the New York avant-garde, having her works exhibited alongside the likes of Andy Warhol, Claes Oldenburg and George Segal during the early 1960s, where she became associated with the pop art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.
In 1973, Kusama moved back to her native Japan, where she found the art scene far more conservative than that in New York. Becoming an art dealer, her business folded after several years, and after experiencing psychiatric problems, in 1977 she voluntarily admitted herself to a hospital, where she has spent the rest of her life. From here, she continued to produce artworks in a variety of mediums, as well as launching a literary career by publishing several novels, a poetry collection and an autobiography.
Kusama's work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design. Major retrospectives of her work have been held at the Museum of Modern Art, the Whitney Museum, and Tate Modern, whilst in 2008 Christies New York sold a work by her for $5.1 million, then a record for a living female artist.
Oil on masonite; 9.5 x 22.5 in.
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.
Bryce Hudson
Untitled Composition #38
Acrylic on canvas
24 ” x 18″ x 2.5″
Signed and dated on Verso
2014
More at www.brycehudson.com
Acrylic on tartan; 200 x 280 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.
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2011 (#6)
Acrylic and Oil on Arches Water Color Paper
22" x 30"
2011
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I am very much influenced by geometric abstraction and the Neoplasticism movement from the early and mid 20th century.