View allAll Photos Tagged geometricabstraction
collaboration work
Anton Eager & Kamel
"Future Time"
Italian park / Urban happening "Art doesn't smell"
Togliatti, Russia / 2017
Совместная работа
Anton Eager и Kamel
"Будущее Время"
Итальянский Парк / городской хэппенинг " Искусство не пахнет"
Тольятти, Россия / 2017
2011 (#11)
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
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I am very much influenced by geometric abstraction and the Neoplasticism movement from the early and mid 20th century.
Oil on wood; 27.0 x 38.1 cm.
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
Watercolor on paper; 27 x 37 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.
Acrylic on canvas; 99.8 cm. diameter
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.
Oil on canvas; 53.5 x 53.5 cm.
Kazimir Malevich was born near Kiev in the Russian Empire. His parents were ethnic Poles. It remains a mystery of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous.
In 1915 he published his manifesto From Cubism to Suprematism. In 1915-1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916-1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk and A. Ekster. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918).
en.wikipedia.org/wiki/Kazimir_Malevich
Rodchenko was born in St. Petersburg. His family moved to Kazan where he studied at the Kazan School of Art under Nikolai Feshin and Georgii Medvedev, and at the Stroganov Institute in Moscow. He made his first abstract drawings, influenced by the Suprematism of Kazimir Malevich, in 1915. The following year, he participated in "The Store" exhibition organized by Vladimir Tatlin, who was another formative influence in his development. Rodchenko was appointed Director of the Museum Bureau and Purchasing Fund by the Bolshevik Government in 1920. He was responsible for the reorganization of art schools and museums. He taught from 1920 to 1930 at the Higher Technical-Artistic Studios.
In 1921 he became a member of the Productivist group, which advocated the incorporation of art into everyday life. He gave up painting in order to concentrate on graphic design for posters, books, and films. Impressed by the photomontage of the German Dadaists, Rodchenko began his own experiments in the medium, first employing found images in 1923, and from 1924 on shooting his own photographs as well.
Throughout the 1920s Rodchenko's work was very abstract. In the 1930s, with the changing Party guidelines governing artistic practice, he concentrated on sports photography and images of parades and other choreographed movements. Rodchenko joined the October circle of artists in 1928 but was expelled three years later being charged with "formalism." He returned to painting in the late 1930s, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. He continued to organize photography exhibitions for the government during these years.
Oil on canvas; 89 x 116 cm.
Nicolas de Staël was born on January 5, 1914 in the family of a Russian Lieutenant General, Baron Vladimir Stael von Holstein, (a member of the Staël von Holstein family, and the last Commandant of the Peter and Paul Fortress) and his wife, Olga Sakhanskaya. De Staël's family was forced to emigrate to Poland in 1919 because of the Russian Revolution. Both, his father and stepmother, would die in Poland and the orphaned Nicolas de Staël would be sent with his older sister Marina to Brussels to live with a Russian family (1922).
He eventually studied art at the Brussels Académie royale des beaux-arts (1932). In the 1930s, he traveled throughout Europe, lived in Paris (1934) and in Morocco (1936) (where he first met his companion Jeannine Guillou, also a painter and who would appear in some of his paintings from 1941-1942) and Algeria. In 1936 he had his first exhibition of Byzantine style icons and watercolors at the Galerie Dietrich et Cie, Brussels. He joined the French Foreign Legion in 1939 and was demobilized in 1941. Sometime in 1940 he met one of his future dealers Jeanne Bucher.
In 1941, he moved to Nice where he met Jean Arp, Sonia Delaunay and Robert Delaunay, and these artists would inspire his first abstract paintings, or "Compositions". In 1942, Jeannine and Nicolas de Staël's first child, Anne was born. The growing family also included Jeannine's nine year old son Antoine. In 1943 (during the Nazi occupation), de Staël returned to Paris with Jeannine, but the war years were extremely difficult. During the war his paintings were included in several group exhibitions and in 1944 he had his first one-man exhibition at the Galerie l'Esquisse. In April 1945 he had a one-man exhibition at the Galerie Jeanne Bucher and in May 1945 his paintings were included in the first Salon de Mai. De Staël's work was also included in the Salon d'Automne that year. In Paris in 1944 he met and befriended Georges Braque, and by 1945 his exhibition's brought him critical fame. However times were so difficult, and success's came too late as Jeannine died in February 1946, from illness brought on by malnutrition.
De Staël met Francoise Chapouton in the spring of 1946, and they married in May. In October 1946 thanks to his friendship with artist André Lanskoy (whom he met in 1944) de Staël made a contract with Louis Carré who agreed to buy all the paintings that he produced. By January 1947 the de Staël family moved into larger quarters thanks to increased recognition and increased sales. In 1947 he befriended his neighbor American private art dealer Theodore Schempp. De Stael's new studio in Paris was very close to Georges Braque's and the two painters became very close friends. In April 1947 his second daughter Laurence was born. In April 1948 his son Jerome was born, also that same year in Paris he began a long friendship with German artist Johnny Friedlaender. His paintings began to attract attention worldwide. In 1950 he had a one-man exhibition at the Galerie Jacques Dubourg in Paris and Schempp introduced de Stael's paintings to New York, with a private exhibition at his Upper East Side apartment. He sold several paintings to important collectors including Duncan Phillips of the Phillips Collection. He had considerable success in the United States, and England in the early 1950s. In 1950 Leo Castelli organized a group exhibition at the Sidney Janis Gallery in New York City that included him. In 1952 He had one-man exhibitions in London, Montevideo, and in Paris. In March 1953 he had his first official one-man exhibition at M. Knoedler & Co. in New York City. The show was both a commercial and critical success. In 1953 he had an exhibition at the Phillips Gallery in Washington DC, (known today as The Phillips Collection in Washington DC) and they acquired two more of his canvasses. Visiting the United States in 1953 de Staël and Francoise visited MoMA, the Barnes Foundation in Merion, Pennsylvania and various other important institutions.
After returning to Paris, de Staël met visiting New York art dealer Paul Rosenberg who offered de Staël an exclusive contract. De Staël signed with Paul Rosenberg partially because Rosenberg was French and because he was an important New York art dealer who showed many Cubist painters whom Nicolas de Staël admired. By the end of 1953 the demand for de Staël's paintings was so great that Paul Rosenberg raised his prices and continually requested more paintings. The demand was so high for his planned spring 1954 exhibition, that Rosenberg requested an additional fifteen paintings. Once again this exhibition was both commercially and critically successful. In April 1954 de Staël's fourth child Gustave was born. In that spring he had a successful exhibition in Paris at Jacques Dubourg's gallery. His new paintings marked his departure from abstraction and a return to figuration, still-life and landscape.
But by 1953, de Staël's depression led him to seek isolation in the south of France (eventually in Antibes). He suffered from exhaustion, insomnia and depression. In the wake of a disappointing meeting with a disparaging art critic on March 16, 1955 he committed suicide. He leapt to his death from his eleventh story studio terrace, in Antibes. He was 41 years old.
This area is made up of seven hills. It's a large territory with rugged terrain. Located right in the middle. It have its own charm. Like a fisherman's net, the streets laid out all over the place. A lot of roads cross this area, old, dusty but reliable. It very convenient for a long-distance traveler, coming here he know exactly where to go next and how. So crowds of people from all over the world flock here. A motley and bright company. But everyone know why they came here.
Oil on canvas; 79.6 x 49.6 cm.
Lazar Markovich Lissitzky, better known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.
El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.
Oil on particle board; 9 3/4 x 6 3/4 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 (#28)
2013
Oil on Arches Watercolor Paper and Board with mixed media adhesive
3 Dimensional Construction
Total Size: 22″ x 22″ x .4″
Size (Framed): 24″ x 24″ x 1″
Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass
Signed and dated lower right in pencil.
I'm at www.brycehudson.com - Stop by, say hi!
Oil on linen; 91 x 140 cm.
Kazimir Malevich was born near Kiev in the Russian Empire. His parents were ethnic Poles. It remains a mystery of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous.
In 1915 he published his manifesto From Cubism to Suprematism. In 1915-1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916-1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk and A. Ekster. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918).
en.wikipedia.org/wiki/Kazimir_Malevich
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My website: www.hollycawfieldphotography.net/
My Other Flickr Photostream:
www.flickr.com/photos/188106602@N04/
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Oil on canvas; 50.8 x 76.2 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.
As the basic functional unit of the structure of all living beings. Being a complex system containing common, characteristic features, it is a kind of mirror of any organism. It has all the functions and properties. It is able to act purposefully even without a single control center. Universality in pure form from the Creator. It's a whole microcosmos. And at the same time the whole Universe is one cell in the body of the same Creator.
This hauntingly minimal photograph captures a layered, abstract architectural scene from an exhibit inside MAAT Lisbon. Weathered concrete panels, exposed studs, and sections of plywood form a quiet composition that blurs the line between construction and deconstruction. Warm wood tones contrast starkly against cool slate grays, evoking the rhythm of geometry and decay. It’s a meditation on negative space, urban erosion, and the poetics of unfinished environments. The piece compels viewers to question what is being built—or what has been left behind. Displayed with reverent simplicity at MAAT, this work invites introspection through the language of line, shadow, and raw material.
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My website: www.hollycawfieldphotography.net/
My Other Flickr Photostream:
www.flickr.com/photos/188106602@N04/
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Multiple of screenprint on mirror; 25.3 x 21 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.
Proun (Entwurf zu Proun S.K.), 1922–23. Watercolor, gouache, india ink, graphite, conté crayon, and varnish on buff paper, 8 7/16 x 11 3/4 inches (21.4 x 29.7 cm). Solomon R. Guggenheim Museum, New York,
Lazar Markovich Lissitzky, better known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.
El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.
en.wikipedia.org/wiki/El_Lissitzky
In one way or another, we're all players. That's how today's society works. Some people play fair and some don't. It depends on education, general moral principles. The goal is one and that's victory. But I think the real player will act according to the rules, making the opponent realize that the game is over and he lost. It doesn't matter if you play white or black. There are two options, what belonged to you will be mine, or I will make it so that you can not make your next move. I'll just lock you out.
Gouache on paper; 62.5 x 44.5 cm.
Born in 1899 in Aabenraa, Denmark, Clausen received an extensive artistic education. She started her studies at the Weimar Grossherzogliche Kunstschule and went on to the women’s academy. She returned home to enrol at the Royal Danish Academy of Fine Arts in 1920. Clausen then studied under Hans Hoffmann at the Hoffmann Schule für Moderne Kunst in Munich from 1921-2, before travelling to Berlin to study with Alexander Archipenko. In Berlin her work became detailed and precise, as Archipenko´s pure geometry demanded. When she moved onto Paris to learn from Fernand Léger in 1924, she became acquainted with Cubism and became part of the Parisian avant-garde. Her painting style began to reflect late Cubism’s geometric edge, grounded in Léger’s mechanical forms. Léger and Clausen had a personal relationship and co-habited in Paris for three years. She started painting objects and architectural forms, executed with a tight line. Léger continued to be an influence on her work, although she formed an interest in several other modern movements throughout her career, including Surrealism, Neo-plasticism and Purism. When she returned to Denmark in 1932 her direct contact with modern European art may have ceased, but her work retained an international style that was dismissed by Danish critics. She taught at the Drawing and Applied Arts School for Women in Copenhagen in 1933. Clausen completed a number of portraits towards the end of her life and designed a mosaic square in Bytorvet, near Copenhagen. She died in Aabenraa, her birthplace, in March 1986.
Oil on canvas; 88.5 x 71 cm.
Kazimir Malevich was born near Kiev in the Russian Empire. His parents were ethnic Poles. It remains a mystery of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous.
In 1915 he published his manifesto From Cubism to Suprematism. In 1915-1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916-1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk and A. Ekster. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918).
en.wikipedia.org/wiki/Kazimir_Malevich
Bryce Hudson
Untitled Composition (#27)
2013
Oil and Acrylic on Arches Watercolor Board with Wood and Mixed Media Adhesive
3 Dimensional Construction
Total Size: 11″ x 14″ x .5″
Size (Framed): 20″ x 24″ x 1″
Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass
Signed and dated lower right in pencil.
As always, I'm at www.brycehudson.com - Stop by, Say Hi!
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; 31 x 23 cm.
Italian painter and writer. He was born into a family of artists and artisans and began his training at the Scuola Libera di Pittura in Rome and later in the workshop of the Italian painter and restorer Giovanni Capranesi (1852-1921). During this period he also cultivated his personal interests, studying above all the work of Correggio, Giotto, Piero della Francesca and Cezanne. These influences are apparent in early works such as Self-portrait with Hat (1914; Verona, Pal. Forti). In 1915 he showed his work at the third exhibition of the Rome Secession. His first important success, after several years of financial difficulty, came in 1924 when he exhibited The Tram (1923; Rome, G.N.A. Mod.), a masterpiece of this first Roman period, at the Venice Biennale. He participated in La prima mostra del novecento italiano at the Palazzo della Permanente in Milan in 1926, also contributing to the second exhibition there in 1929. In 1927 he moved to Venice to take up a teaching post at the Accademia di Belle Arti.
Licini's abstract work is singularly distinct from other Italians of his time. His abstract painting and poetry are both powerfully lyrical. His work was freed from the cage of the geometric rationalism through color, imagination and an indication of a coming climate of the Expressionism. In this way his work can be said to parallel that of Paul Klee.
The 1940s marked his abandonment of dogma as his art morphed into a sui generis surreal fantasy, marked by Northern influences (his wife was Swedish) and post-symbolist poetry that foreshadowed work of extraordinary intensity in the 1950s that manifested his total immersion in a dream world.
Untitled Composition #38
Bryce Hudson
Acrylic on canvas
24 ” x 18″ x 2.5″
Signed and dated on Verso
2013-2014
See more at www.brycehudson.com
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).
Rhough concrete wall with the remains of a poster and a bit of spray paint.
Dunajská Streda, Slovakia; 2019
Loie Hollowell’s Boob Wheel (2019), displayed at the Hirshhorn Museum, is a powerful and provocative work that explores the intersections of the human body, abstraction, and color in contemporary art. Measuring over six feet tall, this mesmerizing acrylic and oil on canvas painting commands attention with its bold, biomorphic shapes and rich, saturated hues.
The composition centers on a symmetrically divided figure that echoes the natural curves of the human body, particularly the female form, while simultaneously abstracting it into a cosmic, almost spiritual realm. The painting’s top half features a soft oval suggesting a head, set above a geometric swirl of forms reminiscent of a breast or a planetary orbit. The lower half unfolds into a hypnotic pattern of curvilinear forms, evocative of buttocks or a cosmic landscape, all grounded by a warm, radiant orange gradient that bridges the ethereal and the earthly.
Hollowell’s signature use of vibrant blues and oranges creates a dynamic contrast that draws viewers into the painting’s depths, while the interplay of smooth gradients and subtle textures gives the work an almost tactile quality. The strategic placement of small, bright red spheres adds an element of movement and energy, echoing both the feminine and the universal.
Displayed on a salmon-hued wall, Boob Wheel becomes part of the museum’s architectural space, inviting viewers to contemplate its forms from multiple perspectives. Hollowell’s work challenges traditional notions of femininity and representation, blending the intimate with the cosmic to create a painting that is both deeply personal and profoundly universal.
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.
Acrylic on canvas; 71.1 x 228.6 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.
Oil on canvas pasted on panel; 21 x 29 cm.
Italian painter and writer. He was born into a family of artists and artisans and began his training at the Scuola Libera di Pittura in Rome and later in the workshop of the Italian painter and restorer Giovanni Capranesi (1852-1921). During this period he also cultivated his personal interests, studying above all the work of Correggio, Giotto, Piero della Francesca and Cezanne. These influences are apparent in early works such as Self-portrait with Hat (1914; Verona, Pal. Forti). In 1915 he showed his work at the third exhibition of the Rome Secession. His first important success, after several years of financial difficulty, came in 1924 when he exhibited The Tram (1923; Rome, G.N.A. Mod.), a masterpiece of this first Roman period, at the Venice Biennale. He participated in La prima mostra del novecento italiano at the Palazzo della Permanente in Milan in 1926, also contributing to the second exhibition there in 1929. In 1927 he moved to Venice to take up a teaching post at the Accademia di Belle Arti.
Licini's abstract work is singularly distinct from other Italians of his time. His abstract painting and poetry are both powerfully lyrical. His work was freed from the cage of the geometric rationalism through color, imagination and an indication of a coming climate of the Expressionism. In this way his work can be said to parallel that of Paul Klee.
The 1940s marked his abandonment of dogma as his art morphed into a sui generis surreal fantasy, marked by Northern influences (his wife was Swedish) and post-symbolist poetry that foreshadowed work of extraordinary intensity in the 1950s that manifested his total immersion in a dream world.