Clivette inevitably moved away from this realistic look to a more distorted fashion in the vein of Chaim Soutine. Over time he drifted away from realism toward expressionism. His later work turned toward figurativism, and eventually becoming abstract.
|
|
However they show influence from neo figurativism, impressionism, cubism, fantasy art and semi abstract art. Although she was not part of the Mexican muralism movement, her art was also influenced by Mexican culture, especially its pre Hispanic elements.
|
|
Ferrari Elite Sheppard (born March 3, 1983) is an American contemporary visual artist, known for his vibrant, hybridized paintings which blend figurativism and abstract art. Aside from being a painter, Sheppard is a writer, photographer, activist and record producer. As record producer, Sheppard is half of the alternative hip hop duo Dec 99th, along with Mos Def.
|
|
Among the latest trends in Argentine painting are new figurativism, pop art, new surrealism, hyperrealism, systems art, new abstract art, kinetic art, and ephemeral art. New Figurativism, formed in the 1960s, La Nueva Figuración, reunió en la década del 60, varios artistas que adoptaron el nombre de "Otra Figuración", que recuperan la figura humana, pero con el fin de darle formas libres, muchas veces monstruosas y cadavéricas. The New Figuration, met in the decade of 60, several artists who adopted the name "Another Figuration," recovering the human figure, but in order to give free-form, often monstrous and corpses. Los artistas más destacados de esta corriente son Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, Antonio Seguí, Miguel Á. The most prominent artists of this current is Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, Antonio Seguí, Miguel Á. Dávila, Juan Carlos Distéfano .
|
|
When he was a teenager, he did a number of murals in the style of Siqueiros and drawings in the style of Picasso. However, figurativism did not interest him much because he felt that his emotions were abstract. After graduating college, he traveled to Europe in 1958 and 1959. In Paris he search and found a group of abstract informalist style painters, who publicly defended traditional French painting techniques and styles.
|
|
In these works, depictions of human beings all but disappear but those of what people create such as houses, roads and more still remain as a form of abstractive figurativism. Her last works were produced between 1978 and 1979 and include Ladera and Niebla. The works create an impression of large space that extends beyond the frame with the eye traveling over the various colors of the work without stopping.
|
|
Thus, a particular symbolism, emotionality and figurativism of Vrubel' paintings came into fashion. The Pearl Shell, 1904. Stored at the Tretyakov Gallery On the exhibition of the that took place in 1905, the Vrubel's painting "The Pearl Shell" was put on display. As with the illustrations for Lermontov' works, Vrubel created a lot of graphic sketches trying to catch and solve the problem of a "black-white colourness".
|
|
She also began her paintings on tree trunks that was avant-garde at her time because it stepped out of the traditional paper. She abandoned figurativism in the later 1950s and began to embrace mythology that depicted mutating beings. Her masks were also predecessors of the surrealistic art that was inspired by ancestral cultures. Niobe began to create original and extravagant pieces using washers, rulers, compasses, and other unusual objects.
|
|
Although nationalism was the prevailing sentiment in artistic production in the 1940s, he studied other movements such as expressionism, abstract art and figurativism as well. He received his masters in fine arts in 1947. In 1955, he began teaching art at the Escuela Nacional de Artes Plásticas at UNAM. In 1963, he studied engraving with Yukio Fukazawa and took another course in engraving at the Center for Japanese Artists in Tokyo.
|
|
The art style of Aaron April moves from contemplative figurativism to expressive symbolism. April's paintings impress with their colorful, temperamental riot of colors (Victoria Khan-Magomedova). However, within this chaos, one can find subject and content. Critics (Victoria Khan-Magomedova, Mathy Fisher) noted that Aharon April is one of those artists who can tame the chaos, prompting viewers to formulate answers to the questions posed by the artistic work, and solve the mystery of it.
|
|
Ram Kumar(23 September 1924 – 14 April 2018) was an Indian artist and writer who has been described as one of India's foremost abstract painters. He was associated with the Progressive artist's group along with greats like M.F. Hussain, Tyeb Mehta, S.H. Raza. He is said to be one of the first Indian artists to give up figurativism for abstract art. His art commands high prices in the domestic and international market.
|
|
She was considered to be the best bust sculptor in Mexico in her time, which mostly showed classic influence. Non bust works mostly focused on themes such as maternity, children, female torsos, bodies in movement and poses indicating reflection. She stated shortly before her death that her main theme was always love in its various forms because she felt it was the basis of life. These works have been classified as abstract figurativism and were done in bronze, stone and wood.
|
|
The artists' colony grew up in the 1930s as a number of painters settled in the dramatic landscape in south-western Odsherred in the hilly countryside known as Vejrhøjbuen between Sejerø Bay and the now reclaimed Lammefjord. With Karl Bovin and Kaj Ejstrup as central figures, the artists rediscovered Naturalism and Figurativism at a time when Modernism was prevalent. Most of them knew each other from the Royal Danish Academy of Fine Arts. They settled in the same small area developing friendships based on common artistic ambitions.
|
|
The "Manifesto No" was the group's manifesto of artistic principles, which was written and published in Paris on 30 June 1950 by artists Rafael Zapata, Bernardo Chataing, Régulo Pérez, Guevara Moreno and Omar Carreño. Major contributions to art from the group include beginning experiments in neo-figurative art, abstract art, and other waves of contemporary art; breaking away from figurativism, and renewing traditional Venezuelan painting marked by the trend of the El Círculo de Bellas Artes and the Landscape School of Caracas, which they were highly critical of.
|
|
Two major influences in his work are the training he received in industrial drawing in Monterrey, and his experience as an assistant to Siqueiros. Both helped him to form a sense of geometry, composition, a definition of form and with Siqueiros, a commitment to retaining aspects of figurativism from Mexican muralism. Two elements that frequently appear in his work are landscapes and the female figure, with figures often created using geometric patterns. He experimented with abstract art, but always went back to introducing human figures in his work.
|
|
The definitive irruption of the Neo-figurativism happened at the beginning of the 1970s, where Jose Carreño and Villafuerte represented Spain and Ecuador. The early Seventies saw the emergence of Villafuerte's, Transmutations Series of drawings, which consisted of exploding heads, monstrous creatures, figures of half women and half birds with multiple mouths and protruding veins. During this time, Villafuerte held many exhibits with the likes of Zuniga, Carreño and Yaulema all across Spain and Ecuador. Villafuerte was a very hard worker and was known to spend at least 16 hours a day drawing.
|
|
Balmori’s painting varied among the various painting styles of Europe of the 20th century as well as influence from Mexican muralism. While studying in Madrid, observing copies of Greek, Roman and Egyptian statues, he declared that beyond all forms there is a universe of light and shadow, whose mysteries, he stated, were for painters to discover. His portraits of Gandhi show academic and classical influence with some distortion of form and geometric shapes showing influence from Cubism and Picasso. Influence from Mexican muralism can be seen in realistic images and figurativism.
|
|
Zalce was active in oil, acrylic, watercolour, pastel, ink, pencil, engraving, monotyping, serigraphy, batik, bronze, stone, ceramics, precious metals and more. As a muralist, he was the first to use coloured cement and often operated contrary to the trends of his time. He was a prominent exponent of figurativism and expressionism, popular in Mexico from the 1920s, and his work is typically characterized by its "precision and clarity"; his scenes of everyday life and of the common man are steeped in social criticism. The ability to draw was for him fundamental for any aspiring fine artist.
|
|
Guillermo Ceniceros in the studio Guillermo Ceniceros (born May 7, 1939) is a Mexican painter and muralist, best known for his mural work in Mexico City, as well as his figurative easel work. He began his mural painting career as an assistant to mural painters such as Federico Cantú, Luis Covarrubias and then David Alfaro Siqueiros who was a mentor and a key influence. Ceniceros is the most notable of Siqueiros' assistants. While he has experimented with abstract expression, his easel work mostly classifies as figurativism and is influenced by the geometrical construct of Mexican muralism.
|
|
Colima, Colima, Mexico. As Cuevas' education was interrupted by illness, he was mostly a self-taught artist. He was part of the first generation of Mexican artists to have emerged after the Muralist movement, and a main figure of both the Generación de la Ruptura (Breakaway Generation) and Neo Figurativism, associated with writers and artists such as Carlos Fuentes, Octavio Paz and Fernando Benítez. Cuevas was born and raised in a country which has produced major innovators in the fine arts, and he himself became a symbol of both the continuity of this tradition as well as a permanent break with the past.
|
|
Figurative art, sometimes written as figurativism, describes artwork (particularly paintings and sculptures) that is clearly derived from real object sources and so is, by definition, representational. The term is often in contrast to abstract art: > Since the arrival of abstract art the term figurative has been used to refer > to any form of modern art that retains strong references to the real world. Painting and sculpture can therefore be divided into the categories of figurative, representational and abstract, although, strictly speaking, abstract art is derived (or abstracted) from a figurative or other natural source. However, "abstract" is sometimes used as a synonym for non- representational art and non-objective art, i.e.
|
|
The art of the Middle Ages was also an influence, especially the reds and the blues of the stained glass windows of Chartres Cathedral. Her quest, shared with her husband, turned to the thought of Albert Gleizes, who she first contacted by correspondence in April 1945.Letter from Andrée Le Coultre to A.Gleizes of 17 April 1945, in the Gleizes archives at M.N.A.M., Paris Le Coultre wrote, "Gleizes influenced my work towards a structured figurativism." Her plans at that point were that she and Régny would move either to the artist colony, or nearby Gleizes in St- Rémy-de-Provence; however, in the end, these plans did not come to fruition.
|
|
The first stage of his painting was figurative expressionism, then abstract expressionism, under strong influence of Carlos Mérida, Rufino Tamaho, Santos Balmori, Kandinsky, Wifredo Lam and Picasso, along with some from classical painters such as Rembrandt and Caravaggio . Then for some time, he practiced abstract art, but then felt the need to draw human bodies again, especially female ones because he felt it allowed him better expression. Around 1980, he moved on to geometric figurativism, marked by the “Woman” exhibit at the Museum of Modern Art. This has also been describes as “pure chromatic constructivism.” He considered himself primarily a sculptor and painted in that fashion.
|
|
Takeshi Motomiya ( Motomiya Takeshi (), born 5 December 1959, Tokyo, Japan) is a multidisciplinary Japanese artist living in Barcelona since 1986. Throughout his career, he has worked within various visual arts disciplines that include painting, engraving, and sculpture. Characterized by his work of textures and natural pigment colors, his work is mainly based on abstract art and shows some attributes of figurativism and abstract expressionism, infused with ancient Japanese gods, biblical content, and Greek and Egyptian mythology. Raised and trained in Japan, and having lived in Paris before settling in Barcelona, Motomiya's work has been exhibited in several European cities such as Barcelona, Paris, Amsterdam and Mahón (Minorca).
|
|
For instance, Armistício de Iperoig (or "Iperoig's truce"), for FAAP (1962); the panel Operário (or "Proletarian") in Avenida Moreira Guimarães, in São Paulo city (1979), murals in Avenida Paulista, and in Diário Popular's building. In 1971, he worked as director of São Paulo State Pinacotheca, and as president of the São Paulo's State Board for Visual Arts, and of the São Paulo's State Council for Culture. Besides painting, Graciano worked in several different activities in parallel, teaching scenography in EAD (USP's drama school), and illustration newspapers, magazines and books, particularly in the 1980s. Throughout his career, Graciano was faithful to Figurativism, and never felt a slight attraction to abstract art.
|
|
By 2005, Man Yu had completed her first collection of works, titled Women of the Orient, with 10 large-format works in pastel that referred to the symbolism, color, and mysticism of Asian culture, and specifically exemplification of Asian women. In addition to approach the aesthetic from figurativism, concepts such as motherhood, nostalgia, marriage and women in general are addressed too. The series combines Japanese geishas and Chinese operas with Man Yu's explicit purpose of reflecting that despite the insistence of the Japanese and Chinese people to differentiate themselves and not be confused together, the essence of femininity in their traditions and allegorical aesthetics are similar and projected to the West where they are received with the same cultural perception. This collection was exhibited for the first time in 2016 as a solo exhibition in the 1887 Gallery of the National Center for Culture in Costa Rica.
|
|