Kaabi-Linke's lyrical abstraction, safely tucked within signifiers of affluence and prestige, yields to the horrors of war.
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Meyer has always been committed to both possibilities, which is why many critics link her to Abstract Expressionism and lyrical abstraction.
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The new cultural initiative in Brooklyn is launching with a show of work by one of the pioneers of Polish postwar lyrical abstraction.
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Iribarren's works look like sensual, lyrical abstraction; however, the artist uses the tropes of this style to do a more conceptual type of painting.
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The term referred to various kinds of abstract art-making, including gestural painting, so-called lyrical abstraction, and the "staining" (tachisme) of canvases with color.
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The inaugural exhibition examines the work of ninety-five year old Polish artist Stanislaw Fijalkowski, one of the pioneers of post-war lyrical abstraction derived from constructivism and surrealism.
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In a recent series of paintings currently on view at Alexander Grey Associates in Chelsea called Frank Bowling: Make it New, the artist mixes lyrical abstraction with elements of personal history and memory.
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Together, the guitarist and lead singer Nick Bloom, the violinist Reid Jenkins (also of the Taylor Swift-endorsed folk band Morningsiders) and the bassist David Halpern perform bouncy and earnest songs that take palate-cleansing detours into both lyrical abstraction and dissonant instrumental noise, making for a result that resists clichés as much as it embraces tradition.
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This artistic foment is virtually unknown in the US. First called "Art Informel" by the important French art critic Michel Tapié in his 1952 book Un Art Autre — a term that covered tachisme, matter painting, Abstract Expressionism, and lyrical abstraction in the Americas, Europe, and Japan, starting in the late 19703s — "Art Informel" was influenced by Surrealism's emphasis on chance; Dada's use of non-art materials; the paintings of the COBRA group, which lasted from 1949 to 1951; and Jean Dubuffet's interest in the art of children, the untaught, and the insane.
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Ronald "Ron" Davis (born 1937), is an American painter whose work is associated with Geometric abstraction, Abstract Illusionism, Lyrical Abstraction,Lyrical Abstraction, Exhibition Catalogue, the Aldrich Contemporary Art Museum, Ridgefield, Conn. 1970.Lyrical Abstraction, Exhibition Catalogue, Whitney Museum of American Art, NYC, 1971. Hard-edge painting, Shaped canvas painting, Color field painting, and 3D Computer Graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions.
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Pat Lipsky is an American painter associated with Lyrical Abstraction and Color Field Painting.
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Lyrical abstraction also represented a competition between the School of Paris and the new New York School of Abstract Expressionism painting represented above all since 1946 by Jackson Pollock, then Willem de Kooning or Mark Rothko, which were also promoted by the American authorities from the early 1950s. Lyrical abstraction was opposed not only to the Cubist and Surrealist movements that preceded it, but also to geometric abstraction (or "cold abstraction"). Lyrical abstraction was, in some ways, the first to apply the lessons of Wassily Kandinsky, considered one of the fathers of abstraction. For the artists, lyrical abstraction represented an opening to personal expression.
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Antoni Karwowski (born 14 April 1948) is a Polish lyrical abstraction painter and neofiguration painter and performance artist.
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The neo-expressionism movement is related to earlier developments in abstract expressionism, neo-Dada, Lyrical Abstraction and postminimal painting.
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Lyrical Abstraction, an exhibition in the Whitney Museum of American Art, May 25–July 6, 1971 was described by John I. H. Baur, curator of the Whitney Museum of American Art:Lyrical Abstraction, exhibition: May 25 through July 6, 1971, "Foreword by John I. H. Baur" :"To be given an entire exhibition surveying a current trend in American art at a single blow is an experience unusual to the verge of the bizarre ... Mr. Aldrich defines the trend of Lyrical Abstraction and explains how he came to acquire the works ..." Thornton Willis Red Wall 1969, Acrylic on Canvas, 103x108 inches. Lyrical Abstraction was the title of a circulating exhibition which commenced at the Aldrich Contemporary Art Museum, Ridgefield, Connecticut from April 5 through June 7, 1970,Lyrical Abstraction, exhibition: April 5 through June 7, 1970. and ended at the Whitney Museum of American Art, New York, May 25 through July 6, 1971.Lyrical Abstraction, exhibition: May 25 through July 6, 1971.
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Carol Haerer (1933-2002) was a New York-based artist known for abstract painting in the vein of Minimalism and Lyrical abstraction.
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Lyrical Abstraction, Exhibition Catalogue, the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut 1970. Lyrical Abstraction is a type of freewheeling abstract painting that emerged in the mid-1960s when abstract painters returned to various forms of painterly, pictorial, expressionism with a predominate focus on process, gestalt and repetitive compositional strategies in general.The Aldrich Museum of Contemporary Art, Lyrical Abstraction, exhibition: 5 April through 7 June 1970Lyrical Abstraction Whitney Museum of American Art, New York, 25 May – 6 July 1971 In contrast to Action Painting, where emphasis is on brushstrokes and high compositional drama, in Lyrical Abstraction—as exemplified by the 1971 Ronnie Landfield painting Garden of Delight—there is a sense of compositional randomness, relaxed compositional drama and an emphasis on process, repetition, and an all over sensibility.
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Lyrical Abstraction led the way away from minimalism in painting and toward a new freer expressionism.Ratcliff, Carter. The New Informalists, Art News, v. 68, n.
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During the 1960s Prentice was associated with Lyrical Abstraction and his work was exhibited at the Park Place Gallery in New York City among other places.
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The lyrical abstraction present on "Beat Bop" is often praised; writing for The Guardian, Chris Campion commented that "people have been trying to decipher it ever since".
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Pierre Alechinsky (born 19 October 1927) is a Belgian artist. He has lived and worked in France since 1951. His work is related to tachisme, abstract expressionism, and lyrical abstraction.
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Sir Richard Sheridan Franklin Bowling (born 26 February 1934), known as Frank Bowling, is a Guyana-born British artist. His paintings relate to Abstract expressionism, Color Field painting and Lyrical Abstraction.
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Cleve Gray (September 22, 1918 in New York CityDecember 8, 2004 in Hartford, Connecticut) was an American Abstract expressionist painter, who was also associated with Color Field painting and Lyrical Abstraction.
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In the 1970s his paintings became more textured. During the 1960s and 1970s, he showed his paintings in New York City with the Robert Elkon Gallery and the André Emmerich Gallery. His paintings were closely aligned with Post- Painterly Abstraction, Color Field painting and Lyrical Abstraction. Abstract Expressionism preceded Color Field painting, Lyrical Abstraction, Fluxus, Pop Art, Minimalism, Postminimalism, and the other movements of the 1960s and 1970s and it influenced the later movements that evolved.
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Ronnie Landfield, 1971, Lyrical Abstraction Color Field painting pointed toward a new direction in American painting, away from abstract expressionism. Related to Post- painterly abstraction, Suprematism, Abstract Expressionism, Hard-edge painting and Lyrical Abstraction, Color Field painting sought to rid art of superfluous rhetoric. Artists like Clyfford Still, Mark Rothko, Hans Hofmann, Morris Louis, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Larry Zox, and others painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery.
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The > majority of the paintings in the Lyrical Abstraction exhibition were created > in 1969 and all are a part of my collection now. Larry Aldrich donated the paintings from the exhibition to the Whitney Museum of American Art.Lyrical Abstraction, exhibition: May 25 through July 6, 1971, "Foreword by John I. H. Baur" For many years the term Lyrical Abstraction was a pejorative, which unfortunately adversely affected those artists whose works were associated with that name. In 1989 Union College art history professor, the late Daniel Robbins observed that Lyrical Abstraction was the term used in the late sixties to describe the return to painterly expressivity by painters all over the country and "consequently", Robbins said, "the term should be used today because it has historical credibility"Robbins, Daniel.
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After a period of hard-edge painting based on geometric abstraction in the 1960s, Levee returned to his more spontaneous Abstract Expressionism style, often using collage elements with loose brush work typical of lyrical abstraction.
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Dan Christensen, (October 6, 1942 - January 20, 2007) was an American abstract painter He is best known for paintings that relate to Lyrical Abstraction,Ashton, Dore. Young Abstract Painters: Right On! Arts v. 44, n.
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This is a list of artists, whose work or a period or significant aspects of it, has been seen as lyrical abstraction, including those before the identification of the term or tendency in America in the 1960s.
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Pat Lipsky, Spiked Red, 1970. Her work was included in the Lyrical Abstraction exhibition at the Whitney Museum in 1970 and at the Boca Raton Museum in 2009. Lyrical Abstraction along with the Fluxus movement and Postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969)Movers and Shakers, New York, "Leaving C&M;", by Sarah Douglas, Art and Auction, March 2007, V.XXXNo7. sought to expand the boundaries of abstract painting and Minimalism by focusing on process, new materials and new ways of expression.
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Signature of the painter Gustave Singier Gustave Singier (11 February 1909, Warneton – 5 May 1984, Paris) was a Belgian non-figurative painter active in France as part of the new Paris School of Lyrical Abstraction and the Salon de Mai.
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Zaritsky developed a painting style known as "lyrical abstraction." In this kind of abstraction the images are created by the way the brush is pulled along the surface of the painting in order to produce compositions and paint stains that are for the most part square, whose disengagement from the realistic source and adaptation to the spirit of the painting, its impression as he calls it, increased with the passing of the years. Ran Shechori claimed that "lyrical abstraction" is an original Zaritsky formulation for the French "unformal" or the American "Action painting."Ran Shachori, "Zaritsky," Musag (February 1976).
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His Cubist work began in Prague. Orloff's painting, however, evolved to a more Symbolist style in the 1930s. After the war, he began to create abstract works in the vein of lyrical abstraction. He also painted landscapes, still lifes, indoor scenes, and portraits.
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Edward Avedisian (June 15, 1936, Lowell, Massachusetts – August 17, 2007, Philmont, New York) was an American abstract painter who came into prominence during the 1960s. His work was initially associated with Color field painting and in the late 1960s with Lyrical Abstraction.
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Georges Mathieu (27 January 1921 Boulogne-sur-Mer – 10 June 2012 Boulogne- Billancourt) was a French abstract painter, art theorist and member of the Académie des Beaux-Arts in Paris. He is considered one of the fathers of European lyrical abstraction, a trend of informalism.
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John Hoyland, Lebanon, 2007. John Hoyland (1934–2011), was one of England's leading abstract painters.Tate Collection - John Hoyland Lyrical abstraction is either of two related but distinct trends in Post-war Modernist painting: European Abstraction Lyrique born in Paris, the French art critic Jean José Marchand being credited with coining its name in 1947, considered as a component of Tachisme when the name of this movement was coined in 1951 by Pierre Guéguen and Charles Estienne the author of L'Art à Paris 1945–1966, and American Lyrical Abstraction a movement described by Larry Aldrich (the founder of the Aldrich Contemporary Art Museum, Ridgefield Connecticut) in 1969.Aldrich, Larry.
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She had also begun to explore, as the critic Katherine Crum later wrote, a pictorial vocabulary in direct challenge to her roots in lyrical abstraction. By 2003, the critic Karen Wilkin would declare Lipsky in The New Criterion to be an "unrepentant abstract painter."Wilkin, Karen.
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His painting style involved using successive thick layers of paint. He was an acclaimed painter in what was known as the modernist "New Horizons" (Ofakim Hadashim) group in 1950s Tel Aviv, which he founded in 1948 along with Joseph Zaritsky and Stematsky. It painted in a French "lyrical abstraction" style.
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Nikel's style was a form of expressionistic abstraction sometimes called lyrical abstraction. She painted with a brusque, generous touch and favored high-keyed colors. She was known for buoyant compositions consisting of rough-edged blocks of color and scribbly, calligraphic lines that together conveyed a sense of imaginative excitement and urgent sensuousness.
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John Seery (born 1941) is an American artist who is associated with the lyrical abstraction movement. Jenifer A. Vogt, Exhibition review, retrieved July 25, 2009John Seery new work retrieved June 2, 2010 He was born in Maspeth, New York, was raised in Flushing, Queens and as a teen, moved to Cincinnati, Ohio.
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Pierre Fichet belongs to the second generation of post second world war abstract painters and is a Lyrical Abstraction artist. His first abstract work was in 1947. In 1952: first exhibition at la maison des Beaux- arts of Paris. In 1954: first exhibition of an abstract work at galerie Arnaud in Paris.
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Piero Dorazio (Rome, June 29, 1927 - Perugia, May 17, 2005) was an Italian painter. His work was related to color field painting, lyrical abstraction and other forms of abstract art. Forma 1 artists: Pietro Consagra, Mino Guerrini, Ugo Attardi, Carla Accardi, Achille Perilli, Antonio Sanfilippo, Giulio Turcato, and Piero Dorazio (sitting below).
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Eventually abstract painting in America evolved into movements such as Neo-Dada, Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, Lyrical Abstraction, Neo-expressionism and the continuation of Abstract expressionism. As a response to the tendency toward abstraction imagery emerged through various new movements, notably Pop art.
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Eventually abstract painting in America evolved into movements such as Neo-Dada, Color Field painting, Post painterly abstraction, Op art, hard- edge painting, Minimal art, shaped canvas painting, Lyrical Abstraction, Neo- expressionism and the continuation of Abstract expressionism. As a response to the tendency toward abstraction imagery emerged through various new movements, notably Pop art.
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57, n. 6, November–December 1969, pp. 104–113. Lyrical abstraction shares similarities with color field painting and abstract expressionism especially in the freewheeling usage of paint — texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in abstract expressionism and color field painting.
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Lyrical Abstraction shares similarities with Color Field Painting and Abstract Expressionism, especially in the freewheeling usage of paint texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting. However the styles are markedly different.
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Bokchan's style belongs to the school of expressive realism. Her move to Paris began her stylistic journey towards contemporary art trends, especially geometric and lyrical abstraction and from there towards the informal. After 1961, Bokchan returned to realism as determined by 'The Paris School'. Michel Ragon, art historian, suggested this was a type of abstract naturalism.
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The Washington painters were among the most prominent of the mid- century Color Field painters. Jack Bush, Big A, 1968. Jack Bush was a Canadian abstract expressionist painter, born in Toronto, Ontario in 1909. Bush became closely tied to the two movements that grew out of the efforts of the abstract expressionists: Color Field Painting and Lyrical Abstraction.
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Verstockt starts his studies in philosophy and literature at Ghent University. Then he went to the Academy of Antwerp and he finished studying at HISK Antwerp. There he develops as a painter in the trend of lyrical abstraction, a movement growing in Paris at that time. His first works follow this movement with references to nature and the cosmos.
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Ronnie Landfield, For William Blake 1968, a/c, 110 x 256 inches, exhibited: Tower 49, NYC, January 3, 2002–November 15, 2002.2002 Exhibition review, retrieved October 27, 2008 His work was included in the Lyrical Abstraction exhibitions at the Whitney Museum in 1970, the Sheldon Museum in 1993 and at the Boca Raton Museum in 2009. American Lyrical Abstraction is an art movementLyrical Abstraction: Color and Mood, Sheldon Museum of Art, exhibition review "New Exhibit goes big, bold" Lincoln Journal- Star, Sunday, May 30th, 1993 that emerged in New York City, Los Angeles, Washington, DC, and then Toronto and London during the 1960s–1970s. Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly and newer technological techniques.Ashton, Dore.
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Finally, in the late 1960s (partially as a response to minimal art, and the dogmatic interpretations by some to Greenbergian and Juddian formalism), many painters re-introduced painterly options into their works and the Whitney Museum and several other museums and institutions at the time formally named and identified the movement and uncompromising return to painterly abstraction as 'lyrical abstraction'.
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He exhibited at the Waddington Galleries, London throughout the 1970s and 1980s. During the 1960s and 1970s, he showed his paintings in New York City with the Robert Elkon Gallery and the André Emmerich Gallery. His paintings are closely aligned with Post-Painterly Abstraction, Color Field painting and Lyrical Abstraction. Hoyland disliked the 'abstract' painter label, describing himself simply as 'a painter'.
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Thornton Willis (born May 25, 1936) is an American abstract painter. He has contributed to the New York School of painting since the late 1960s. Viewed as a member of the Third Generation of American Abstract Expressionists, his work is associated with Abstract Expressionism, Lyrical Abstraction, Process Art, Postminimalism, Bio-morphic Cubism (a term he coined) and Color Field painting.
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Mazes for the Mind. New York: St. Martin's Press. pp. 277-79. The art critic Balint Szombathy notes that lyrical conceptualism encapsulates no less a fusion of polarities than the term- amalgams of lyrical expressionism, or lyrical abstraction. It is possible to characterize these diametrically opposed juxtapositions, he says, as attempts to equalize incompatible elements for the sake of synthesis.
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Endre Nemes (photo B L Nemes) Endre Nemes (November 10, 1909 – September 22, 1985; born with the family name Nágel) was a Slovako-Czecho-Swedish Surrealist artist who had a background in Lyrical Abstraction."Nemes, Endre", Artportal.hu. . Retrieved 8 May 2012. While his early exhibitions included tailors' dummies and écorchés, he was notable in Sweden for his use of enamels in public art.
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Postminimalism often incorporating industrial materials, raw materials, fabrications, found objects, installation, serial repetition, and often with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse. Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard-edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.Martin, Ann Ray, and Howard Junker. The New Art: It's Way, Way Out, Newsweek 29 July 1968: pp.3,55–63. Lyrical Abstraction is a type of freewheeling abstract painting that emerged in the mid-1960s when abstract painters returned to various forms of painterly, pictorial, expressionism with a predominate focus on process, gestalt and repetitive compositional strategies in general.
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1997–1998 Exhibition catalog. In The Art of Richard Diebenkorn, Whitney Museum of American Art. 56. American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless (New York School Press, 2009.) . p. 80-83 When in 1967 he returned to abstraction his works were parallel to movements like the Color Field movement and Lyrical Abstraction but he remained independent of both. During the late 1960s Larry Poons whose earlier Dot paintings were associated with Op Art began to produce looser and more free formed paintings that were referred to as his Lozenge Ellipse paintings of 1967–1968. Along with John Hoyland, Walter Darby Bannard, Larry Zox, Ronald Davis, Ronnie Landfield, John Seery, Pat Lipsky, Dan Christensen retrieved June 2, 2010 and several other young painters a new movement that related to Color Field painting began to form; eventually called Lyrical Abstraction.
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Wols was the pseudonym of Alfred Otto Wolfgang Schulze (27 May 1913, Berlin1 September 1951, Paris), a German painter and photographer predominantly active in France. Though broadly unrecognized in his lifetime, he is considered a pioneer of lyrical abstraction, one of the most influential artists of the Tachisme movement.Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. pp.
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1945 - 1960, Art Criticism Since 1900, Manchester University Press, 1993, p. 180. Post-World War II (Après-guerre), the term "School of Paris" often referred to tachisme, and lyrical abstraction, a European parallel to American Abstract Expressionism. These artists are also related to CoBrA.Auber, Nathalie, 'Cobra after Cobra' and the Alba Congress: From Revolutionary Avant-Garde To Situationist Experiment, Third Text 20.2 (2006), Art Source. Web.
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Much of de Staël 's late work – in particular his thinned, and diluted oil on canvas abstract landscapes of the mid-1950s predicts Color Field painting and Lyrical Abstraction of the 1960s and 1970s. Nicolas de Staël's bold and intensely vivid color in his last paintings predict the direction of much of contemporary painting that came after him including Pop art of the 1960s.
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In the late spring of 1967 Dan Christensen began painting with spray guns and produced his first "linear spray paintings," for which he became famous. By 1968 he began to exhibit his paintings in important art galleries from New York to California and worldwide. In the late 1960s he participated in several important exhibitions that traveled throughout the United States, including the Lyrical Abstraction Exhibition that originated at the Aldrich Contemporary Art Museum.The Aldrich Museum of Contemporary Art, Lyrical Abstraction, exhibition: April 5 through June 7, 1970, Statement of the exhibition During the remainder of the 1960s and throughout the 1970s Christensen regularly exhibited his paintings at the André Emmerich Gallery, the Noah Goldowsky Gallery in New York City, the Rolf Ricke Gallery in W. Germany, the Nicholas Wilder Gallery in Los Angeles,NY Times and the Meredith Long Gallery both in Houston Texas, and New York City.
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This series, unlike the Imaginary Landscape series, suggests a basic landscape with a sun and a ground. On another level, the shapes are so rudimentary; they are not limited to this one interpretation. Gottlieb was a masterful colorist as well and in the Burst series his use of color is particularly crucial. He is considered one of the first color field painters and is one of the forerunners of Lyrical Abstraction.
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Pignataro's work was often described by critics as Informalism, Lyrical abstraction, having an oriental influence, and hard to categorize. Other influences that can be observed throughout his work are from Cubism, De Stijl, Geometric Abstraction, Japanese Ink Wash Painting, Gestural Abstraction, Tachisme, Abstract Expresionism and Abstract Calligraphy. His artwork most commonly features oil painting, paper collage, and assemblage techniques, all of which he often combined into texture-rich art pieces.
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Characterized by an overall gestalt, consistent surface tension, sometimes even the hiding of brushstrokes, and an overt avoidance of relational composition. It developed as did Postminimalism as an alternative to strict Formalist and Minimalist doctrine. Lyrical Abstraction shares similarities with Color Field Painting and Abstract Expressionism especially in the freewheeling usage of paint – texture and surface, an example is illustrated by the painting by Ronnie Landfield entitled For William Blake.
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While in Lyrical Abstraction there is a sense of compositional randomness, all over composition, low key and relaxed compositional drama and an emphasis on process, repetition, and an all over sensibility. The differences with Color Field Painting are more subtle today because many of the Color Field painters like Helen Frankenthaler, Jules Olitski, Sam Francis, and Jack Bush "Jack Bush". The Art History Archive; Canadian Art. Retrieved December 9, 2008.
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The Ocean Park series bridged his earlier abstract expressionist works with color field painting and lyrical abstraction. In 1986, Diebenkorn decided to leave Santa Monica and Southern California. After traveling and looking around several different areas in the western United States, in 1988, Diebenkorn and his wife settled in Healdsburg, California, where he built a new studio. In 1989 he began suffering serious health issues related to heart disease.
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Another name for Tachism is Abstraction lyrique (related to American Lyrical Abstraction). COBRA is also related to Tachisme, as is Japan's Gutai group. After World War II the term School of Paris often referred to Tachisme, the European equivalent of American abstract expressionism. Important proponents were Jean- Paul Riopelle, Wols, Jean Dubuffet, Pierre Soulages, Nicolas de Staël, Hans Hartung, Gérard Schneider, Serge Poliakoff, Georges Mathieu and Jean Messagier, among several others.
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Lyrical Abstraction in the late 1960s is characterized by the paintings of Dan Christensen, Ronnie Landfield, Peter Young and others, and along with the Fluxus movement and Postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969)Movers and Shakers, New York, "Leaving C&M;", by Sarah Douglas, Art and Auction, March 2007, V.XXXNo7. sought to expand the boundaries of abstract painting and Minimalism by focusing on process, new materials and new ways of expression. Postminimalism often incorporating industrial materials, raw materials, fabrications, found objects, installation, serial repetition, and often with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse. Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field painting, Hard-edge painting, Minimal Art, Op art, Pop art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.
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Robert Rauschenberg, 1963, Retroactive II; combine painting with paint and photos. Mark Rothko, Untitled (Black on Grey), 1970, Solomon R. Guggenheim Museum, New York City. One of Rothko's final paintings which relate closely to both Minimal art and Color Field painting.Baal-Teshuva, Jacob. Mark Rothko, 1903–1970: Pictures as Drama. New York: Taschen, 2003 During the 1950s abstract painting in America evolved into movements such as Neo-Dada, Post painterly abstraction, Op Art, hard-edge painting, Minimal art, Shaped canvas painting, Lyrical Abstraction, and the continuation of Abstract expressionism. As a response to the tendency toward abstraction imagery emerged through various new movements like Pop Art, the Bay Area Figurative Movement and later in the 1970s Neo-expressionism. Lyrical Abstraction along with the Fluxus movement and Postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969)Movers and Shakers, New York, "Leaving C&M;", by Sarah Douglas, Art+Auction, March 2007, V.XXXNo7.
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However the styles are markedly different. Setting it apart from abstract expressionism and action painting of the 1940s and 1950s is the approach to composition and drama. As seen in action painting there is an emphasis on brushstrokes, high compositional drama, dynamic compositional tension. While in lyrical abstraction there is a sense of compositional randomness, all over composition, low key and relaxed compositional drama and an emphasis on process, repetition, and an all over sensibility.
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Brice Marden, Vine, 1992–93, oil on linen, , Museum of Modern Art, New York The continuation of abstract expressionism, color field painting, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th-century Modernist movements in both painting and sculpture continued through the first decade of the 21st century and constitute radical new directions in those mediums.Ratcliff, Carter. "The New Informalists", Art News, v. 68, n.
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At the same time in Paris, Lyrical Abstraction was establishing a new identity. During the 1950s, Murtić experienced both art scenes at first hand. In America he encountered artists such as Willem de Kooning and Jackson Pollock, and in Europe he saw the work of Jean René Bazaine, Alfred Manessier, and Gustave Singier. Murtić's own paintings of this time show the influence of these ideas as he developed his own personal style.
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In the late 1960s and early 1970s art shattered into many directions: Conceptual Art, Earth Art, Lyrical Abstraction, Minimal Art, Postminimalism, Performance art, and the continuation of Abstract expressionism, Color field painting, Op Art and Pop Art. A significant development in the New York art world was the birth of the gallery scene in SoHo. It signaled the enormous financial growth of the art world. Suddenly there were waves of new galleries and collectors.
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Yves Zurstrassen (Belgium, 1956) in his studio, in the movie of Michelle Porter Yves Zurstrassen, painter, 2017 Yves Zurstrassen (1956) is a Belgian abstract painter. He lives and works in Brussels (Belgium) and in Viens (France). Yves Zurstrassen's painting is a work always in motion, navigating between lyrical abstraction and abstract expressionism. His approach plays with the general principle of collage and “décollage” of various types of thin paper on successive layers of colour.
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Peter Young (born January 2, 1940, Pittsburgh, Pennsylvania) is an American painter. He is primarily known for his abstract paintings that have been widely exhibited in the United States and in Europe since the 1960s. His work is associated with Minimal Art, Post-minimalism, and Lyrical Abstraction. Young has participated in more than a hundred group exhibitions and he has had more than forty solo exhibitions in important contemporary art galleries throughout his career.
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Four years after arriving in Paris, in May 1945, Simon Hantaï, a fellow Hungarian émigré, introduced Reigl to André Breton. Known as the Pope of Surrealism, Breton welcomed Reigl into his circle of Surrealist artists and their influence is evident in her early work. She read authors such as Le Comte de Lautréamont and Arthur Rimbaud, whose texts were seminal for the Surrealists. Reigl eventually moved away from Surrealism and towards Lyrical Abstraction.
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It was overtly inspired by German Expressionist painters, such as Emil Nolde, Max Beckmann, George Grosz, Ernst Ludwig Kirchner, James Ensor and Edvard Munch. It is also related to American Lyrical Abstraction painting of the 1960s and 1970s, The Hairy Who movement in Chicago, the Bay Area Figurative School of the 1950s and 1960s, the continuation of Abstract Expressionism, New Image Painting and precedents in Pop Painting.Chilvers, Ian and John Glaves-Smith. A Dictionary of Modern and Contemporary Art.
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Haerer is best known for her White Painting series of works. Her work was included in the Lyrical Abstraction exhibition at the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. In 1990, the Rothko Foundation at Artists Space sponsored a three-person exhibition of Ed Clark, Carol Haerer and Ted Kanshare, which was reviewed by Arts Magazine. Her large paintings were often stretched on supports with rounded corners, creating a sense of elegant objecthood as well as luminous surface quality.
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Art historian and curator Maria Alice Milliet has studied her work, curating exhibitions in 2008, 2009, and 2015. In 2008, an exhibit at the Oscar Niemeyer Museum in Curitiba focused on Mohalyi's lyrical abstraction. In 2009, a retrospective exhibition at the Pinacoteca do Estado de São Paulo covered Mohalyi's work from the 1930s to the 1970s. In 2014, a retrospective of Mohalyi's work at the Museu de Arte Moderna de São Paulo (MAM) included more than 400 works.
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It was organised by the critic Michel Tapié, whose role in the defense of this movement was of the highest importance. With these events, he déclared that « the lyrical abstraction is born ». It was, however, a fairly short reign (late 1957), which was quickly supplanted by the New Realism of Pierre Restany and Yves Klein. Starting around 1970, this movement has been revived by a new generation of artists born during or immediately after the Second World War.
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At the beginning of his career he reinvented graffiti technique applying it with stencil brushes on canvas, in a method known as tapping. In his early paintings he was depicting fantastical and heavenly backgrounds populated with stenciled human profiles, transparent spheres or outlined hands. Later he added some other irregular forms tending towards the lyrical abstraction. The names of his works were metaphorically commenting his reality (cycles: «Wielki Świat» (The Big World), «Krzyk» (Shout) or «Exodus»).
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After the tensioned period of World War II, he managed to have his first solo exhibition in 1947. Starting with this year's "Exposition Internationale du Surréalisme", he had an active presence in all the important Surrealist exhibitions worldwide. After 1951 (when he also departed from Breton's group), his style increased in abstraction and would be associated later with Lyrical abstraction and Tachisme. In 1958 he published the book Maltraité de peinture and received the Copley Foundation prize.
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Sutton became known for her large scale abstract acrylic paintings, which she painted with canvas laid directly on the floor. Related to the tradition of Color Field Painting her art has been linked by critics to the art movement called Lyrical Abstraction. Her smaller paper works often take on unusual structural forms and have widely extended edges, sometimes cut in wave shapes. Sutton was encouraged by critic Michael Fried whom she met 1n 1986 at Triangle Artist Workshop.
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Mathieu has been commissioned several advertising campaigns. In 1966 the airlines company Air France ordered Mathieu a series of posters for its future advertising campaign. The series featured paintings evocative of some major destinations (New York, Brazil, Japan, Germany...), all in the style of lyrical abstraction, pointed out for the graphical coherence between the countries and their representation. The French television awards Les 7 d'or, broadcast from 1985 to 2001, offered a statue designed by Mathieu to the winners.
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Barr is most well known for her abstract landscapes, which come out of a tradition of post-war American Abstract Expressionism, Lyrical Abstraction, and Color Field painting. Her early works she described as "filmstrip-type" paintings and later "stained paintings." She also connected her work to an interest in landscape to Chinese landscape painting in terms of different layers of gradation. Her work often deals with her interest in understanding the world, outside of the European Christianity.
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In spite of the fact that the Panamanian public did not understand much of his art, in 1955 he was awarded a prize for a piece that included bits of glass. With the passage of time Sinclair's painting followed the lines of a lyrical abstraction that went from collages to soft and luminous compositions. One of his most famous works is "Mancha". Sinclair died on 2 February 2014 from heart failure at the age of 99.
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481 Taking its example from other European modernists like Joan Miró, the Color Field movement encompasses several decades from the mid 20th century through the early 21st century. Color Field painting actually encompasses three separate but related generations of painters. Commonly used terms to refer to the three separate but related groups are Abstract expressionism, Post- Painterly Abstraction, and Lyrical Abstraction. Some of the artists made works in all three eras, that relate to all of the three styles.
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Mark Verstockt or Marc Verstockt (16 July 1930, Lokeren - 14 May 2014, Antwerp) was a Belgian multidisciplinary artist. Since the 1950s he has been working on an oeuvre containing paintings, drawings, sculptures, publications, video and his own theory about form. His work has shown itself in different styles over time as lyrical abstraction, constructivism and minimalism. An overall constant is his fascination for the geometric figures such as the circle, the triangle and especially the square.
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3, November 1980, p. 158 curated by Larry Aldrich, and the painting from this show, “Wall”, 1969, acrylic on canvas, 96 inches by 114 inches, was originally exhibited at the Aldrich Museum of Contemporary Art, in Ridgefield, Connecticut. Some of the other artists connected with Lyrical Abstraction were Victoria Barr, Jake Berthot, Dan Christensen, Ronnie Landfield, Pat Lipsky, John Torreano, Phillip Wofford and Robert Zakanitch. When in 1971, Mr. Aldrich donated this collection to The Whitney Museum of American Art,John I.H. Baur, John Baur, the museum director, mounted a second Lyrical Abstraction exhibition and Willis's painting Wall became part of the Whitney Museum's permanent collection. The “Slat” series also attracted Bykert Gallery director, Klaus Kertess, and in 1971 Willis joined the Paley and Lowe Gallery, New York City, as part of its original stable of eight artists including, Joan Snyder, Mary Heilmann, Peter Pinchbeck, Herbert Schiffrin, Fred Gudziet, Mike Bakaty, Peter Bradley, and Michael Goldberg who joined later. A “Slat” painting was purchased by William Paley, then Chairman of the Board of CBS, and is now in The Museum of Broadcasting, NYC.
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With these brief notes published in 1947 in the first album of the Salon des Réalités Nouvelles,Album n°1 du Salon des Réalités Nouvelles, 1947 François Willi Wendt foresaw the indomitable dynamism of his evolution. But he did so reservedly: as he defied the systematisation of geometric abstraction, at times he also resisted being tempted by the subjectivity of lyrical abstraction. “For fifteen years (1938–1953), I have been dependent on graphism. From the beginning, I have been seeking the objective.
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8, December 1969, p.72. Painters who directly reacted against the predominating Formalist, Minimalist, and Pop Art and geometric abstraction styles of the 1960s, turned to new, experimental, loose, painterly, expressive, pictorial and abstract painting styles. Many of them had been Minimalists, working with various monochromatic, geometric styles, and whose paintings publicly evolved into new abstract painterly motifs. American Lyrical Abstraction is related in spirit to Abstract Expressionism, Color Field painting and European Tachisme of the 1940s and 1950s as well.
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Henderson's painting style transitioned greatly from his early days favouring the mediums of Oil on Canvas; Oil on Paper; Watercolour; Gouache; Charcoal; Acrylic; Vitreous Enamel, using calligraphy in much of his work. His early vividly coloured geometric patterns were in the abstract contemporary style of the period. From the early 1980s his style developed into lyrical abstraction. Later with the transition to landscape scenes, typically of the Irish borders and coast, many layers of paint are used to build depth into each picture.
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In 2008 the electronic/world music group Mikros Kosmos ("small world") arrived in Cyprus and recorded their first album in Nicosia. Their first performances presented live remixes for laptop and voice of classic Greek rebetika, with performances at New York City's Golden Festival and elsewhere in the United States. Mikros Kosmos's full-length original album moves away from the classic rebetika with an affection for minimal arrangements and a lyrical abstraction which is uncommon in the history of Greek music.
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Thornton Willis "Red Wall" 1969, Acrylic on Canvas, 103x108 inches. From 1967 to 1973, Thornton Willis worked on a series of paintings now called his “Slat Series” involving a “wet on wet” process working on the floor on large wet unstretched canvas and using rollers with long extension handles to develop striped bands across the entire picture plane. In 1970, Willis was included in the exhibition entitled “Lyrical Abstraction” Noel Frackman, The Paintings of Thornton Willis, Arts Magazine, Vol. 55, no.
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Eugene J. Martin's art is best known for his imaginative, complex mixed media collages on paper, his often gently humorous pencil and pen and ink drawings, and his paintings on paper and canvas that may incorporate whimsical allusions to animal, machine and structural imagery among areas of "pure", constructed, biomorphic, or disciplined lyrical abstraction. Martin called many of his works straddling both abstraction and representation "satirical abstracts".Seven American Artists: Eugene Martin Interview with Dean King, 1985. He did not create sculptures.
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In an interview he said that for him Surrealism represented primarily "a research space" and intellectual stimulation. His second show at the Furstenberg Gallery (1963) displayed the results of this exploratory work, although subsequently his painting took another turn and developed further in the direction of lyrical abstraction. Following the shift, he asked Breton whether his work could still be considered surrealist. “As it remains your perception of reality, you are a surrealist by necessity”, is how Rozsda recalled Breton's answer.
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He was a member of Painters Eleven, the group founded by William Ronald in 1954 to promote abstract painting in Canada, and was soon encouraged in his art by the American art critic Clement Greenberg. With encouragement from Greenberg, Bush became closely tied to two movements that grew out of the efforts of the abstract expressionists: Color Field Painting and Lyrical Abstraction. His painting Big A is an example of his color field paintings of the late 1960s."Jack Bush".
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Color Field painting is related to Post-painterly abstraction, Suprematism, Abstract Expressionism, Hard-edge painting and Lyrical Abstraction. It initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several series of paintings by Joan Miró. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. An important distinction that made color field painting different from abstract expression was the paint handling.
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He worked in various styles and became distinctive early on, combining Hard-edge painting with landscape and seascape painting in kaleidoscopic perspectives, tropical landscapes, Art Nouveau borders and the surrealism of Gordon Onslow Ford, later incorporating collage, occasionally text art, Decalcomania. Clifford was openly same sex attracted however he described himself as a homophobic homosexual. His paintings of the human figure were usually male homoerotic nudes. His late paintings were Lyrical abstraction and have been compared to Ralph Balson's matter paintings of the early 1960s.
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Lyrical Abstraction (the term being coined by Larry Aldrich, the founder of the Aldrich Contemporary Art Museum, Ridgefield Connecticut), encompassed what Aldrich said he saw in the studios of many artists at that time.Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November–December 1969, pp. 104–113. It is also the name of an exhibition that originated in the Aldrich Museum and traveled to the Whitney Museum of American Art and other museums throughout the United States between 1969 and 1971.
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After the Ninth Street Show annual invitational exhibitions were held at the Stable Gallery throughout the 1950s. The poster of the second New York Painting and Sculpture Annual at The Stable Gallery in 1953, included an introduction by Clement Greenberg:Stable Gallery 1953 Poster’’ New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) pp.20–21 In the 1960s he became associated with Color field painting and Lyrical Abstraction. He was included in Post- painterly abstraction a 1964 exhibition curated by Clement Greenberg.
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Tachisme refers to the French style of abstract painting current in the 1945–1960 period. Very close to Art Informel, it presents the European equivalent to Abstract Expressionism. The Sheldon Museum of Art held an exhibition from 1 June until 29 August 1993 entitled Lyrical Abstraction: Color and Mood. Some of the participants included Dan Christensen, Walter Darby Bannard, Ronald Davis, Helen Frankenthaler, Sam Francis, Cleve Gray, Ronnie Landfield, Morris Louis, Jules Olitski, Robert Natkin, William Pettet, Mark Rothko, Lawrence Stafford, Peter Young and several other painters.
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Robert Natkin (November 7, 1930 – April 20, 2010) was an American born abstract painter whose work is associated with abstract expressionism, color field painting, and Lyrical Abstraction.2010-2011 exhibition He was born in Chicago, and from the early 1950s he created paintings which are represented in the permanent collections of major museums as well as in corporate and private collections. His work has been exhibited in leading galleries in the U.S., Europe and Japan. His work was written about extensively by critic Peter Fuller.
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The group is later expanded, with Michel Tapié, Picabia and François Stahly to form H.W.P.S.M.T.B., exposing at the Galerie Allendy. He promoted an art free from the constraints of figurative paintings and defining the concept of Lyrical Abstraction. In 1948, he put in place the first confrontation between American and French avant-garde painters : on this occasion he revealed the importance of the American abstraction of Jackson Pollock and Alton Tobey to the French audience. He painted his first large canvases as soon as 1952.
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Emilio Vedova (1919-2006) was a self-taught painter from Venice. At the end of World War II he took an active part in the liberation of Venice and in 1946 he joined the Fronte Nuovo delle Arti, a movement that aimed at reconciling social revolution in artistic expression. Vedova was influenced by art movements such as Cubism and Expressionism and admired the works of Tintoretto, Rembrandt, Goya and Picasso. In the 1940s his style became increasingly gestural and began to fit in with the qualities of Lyrical Abstraction or Abstract Expressionism.
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She liquefies the wax with a blowtorch and the layers are fused, resulting in the illusion of surface depth and translucency. This illusion is heightened by Eby's use of impasto on the surface of her canvases. Her work expresses atmosphere and motion in a style Eby has referred to as “lyrical abstraction.” An accomplished classical pianist, music bears a prominent influence in her artworks, which are often inspired by and titled after pieces of classical and contemporary music by composers such as John Cage, Alan Hovhaness, Johannes Brahms and Claude Debussy.
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Born in Payette, Idaho, and raised on a working ranch, Clinton Hill served in the navy during World War II as commander of a minesweeper in the Pacific. Upon his return from service, Hill attended the University of Oregon from which he graduated in 1947. He then moved to New York City, where Hill attended the Brooklyn Museum Art School from 1949 to 1951."The work of Clinton Hill is characterized by a lyrical abstraction which is derived from the painterly tradition of the New York School"Charlotta Kotik.
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Gliha's early work during the 1930s and 40s were landscapes, portraits and still lifes, painted with in conventional, rather neutral colours. His landscapes showed the influence of Paul Cézanne, and he tended to use thick paint in an impasto style to describe the form in his still life subjects. In the 1950s, lyrical abstraction was taking hold across Europe, with a new abstraction based on natural subjects. In 1954, Oton Gliha painted "Primorje", a coastal landscape that marked the beginning of one of the major series in Croatian art.
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Nancy Petry, RCA, is a Canadian artist known for innovation within the field of painting, photography, film and performance art. As one of the first Canadian artists to paint in the style of lyrical abstraction, her work was featured at the Commonwealth Institute (London, UK), at the Musée d'art contemporain de Montréal and in a National Gallery of Canada touring exhibition. She was also instrumental in establishing the Association des graveurs du Québec and contributed to the success of the Montreal alternative art cooperative, Véhicule Art. In 2015 the Nancy Petry Award was instituted.
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As one of the first artists in Quebec to adopt lyrical abstraction,Beaux-arts des Amériques Nancy Petry - 'Voyages' Petry's 1959 solo exhibition at Galerie Agnès Lefort (Montreal) drew attention for “simplicity and economy of harmonious line, form and color”.Pfiffer, Dorothy. "Nancy Petry Wargin" The Montreal Gazette, 17 Oct 1959. Web In 1962 the National Gallery of Canada organized a solo exhibition of her work, Paintings and Watercolours which toured Western Canada from September 1962 to May 1963.Exhibition Schedule: Nancy Petry: Paintings and Watercolours September 23, 1962 to May 30, 1963.
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Todd worked in a variety of genres including drama, traditional documentary, creative nonfiction and used techniques such as lyrical abstraction, and structural experimentation. His films have been compared to lyrical filmmakers as Nathaniel Dorsky and Peter Hutton. They have been described as intimate and personal. Since 1999 he worked nearly exclusively in 16mm. In addition to his short films, he produced long format documentaries which included In Loving Memory: In Loving Memory: Testimonials of Death Row Inmates Regarding Life” (2005), and Master Plan (2011) which links incarceration with general issues of housing in America.
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The Sheldon houses both the Sheldon Art Association collection (founded in 1888 as the Haydon Art Club), and the University of Nebraska collection, initiated in 1929. Together they comprise more than 12,000 works of art in all media. This comprehensive collection of American art includes prominent holdings of 19th-century landscape and still life, American Impressionism, early Modernism, Geometric abstraction, Abstract Expressionism, Pop art, Lyrical Abstraction, Color Field painting, Minimalism and Contemporary Art. In April 1965, "Golden Age", a painting by Benjamin West was stolen and recovered by the FBI.
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In 1946, his first abstract paintings were featured at the Salon des moins de 30 ans exhibition in Paris. He founded the first artistic group L’Imaginaire with Wols, Jean-Michel Atlan, Hartung, Bryen, Riopelle and exposes with fourteen painters at the Galerie du Luxembourg on 16 December 1947. The exhibition was called Towards Lyrical Abstraction, but the title was later changed because of the presence of works of Pablo Picasso and Jean Arp. The same year, he exposes at the Salon des Réalités Nouvelles and at the Salon des Surindépendants.
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Endre Rozsda and Péter Esterházy at an opening in Várfok Gallery From the start of the 1960s, Rozsda's work underwent another change: the tensions and harmonies of architectonic structures and swirling colors created a richly detailed microcosm. In his effort "to control time" and dissolve reality in his imagination he continued to rely on Surrealism, although his means of expression became increasingly characterized by lyrical abstraction. In 1970 he became a French citizen. In 1979 he set up a studio in Le Bateau-Lavoir and continued to work there until the end of his life.
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During the later phases of Color Field painting; as reflections of the zeitgeist of the late 1960s (in which everything began to hang loose) and the angst of the age (with all of the uncertainties of the time) merged with the gestalt of Post-Painterly Abstraction, producing Lyrical Abstraction which combined precision of the Color Field idiom with the malerische of the Abstract Expressionists. During the same period of the late 1960s, and early 1970s in Europe, Gerhard Richter, Anselm Kiefer"White Cube: Anselm Kiefer". White Cube. Retrieved December 15, 2008.
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A member of the lyrical abstraction group, he moved in the artistic and literary circles of postwar Paris, befriending, among others, Francis Gruber, Jean Dewasne, and Constantin Brancusi.Edwin Constantin Fianu, “Dinu Grigoresco à Montréal,” Magazin’Art, 2.1 (1989) : 46. In 1956, he exhibited for the first time at the Salon des Surindépendants in Paris. Beginning in 1957, he also contributed regularly to the Salon des Réalités Nouvelles. France's Ministry of Culture purchased the painting that he exhibited at the 1974 edition of that salon for the Musée d’Art Moderne de la ville de Paris.
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The period between 1950 and 1970 witnessed the emergence of many new styles. Action painting, Lyrical Abstraction, Neoconcretism, Neoexpressionism, Pop art, Neorealism — all contributed to some extent to the creation of huge diversity in Brazilian painting and to the updating of Brazilian art. After a period of relative decline in the conceptualist 1970s, national art revived in the 1980s under the influence of the world's renewed interest in traditional painting. Then Brazilian painting showed a new strength, spread across the whole country, and started being appreciated in international forums.
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Whilst he did not pursue fashions or a particular school of art, he acquired innovative and challenging works, in the Central Street and early Coventry Gallery years notably abstract, colourfield and hard-edge, Quinn, Mary "Chandler Coventry, 1924-1999 Collector, Patron and Benefactor", in Art Insight no. 50, October 1999 p.4 then after 1972 his taste embraced painterliness, lyrical abstraction, even gesture and figuration.Goldsmith, Merle, "Chandler Phillip Coventry, AM, (1924-1999) Grazier, Art Adventurer, Benefactor", in Ryan, J. S. (John Sprott) & Cady, Bruce & University of New England & Armidale and District Historical Society (2001).
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However, an exhibit of paintings by the group in 1952 in Zagreb was well attended, and in that same year, they participated in the VII Salon des Réalités Nouvelles in Paris. In 1953, an exhibition of paintings was held in the Society of Croatian Architects and there the group issued a second manifesto in response to their critics. Other exhibits followed in Belgrade (1953), Rijeka (1954,1956), Dubrovnik (1956) and finally in Belgrade (1956). Under their influence, Croatian artists moved to more creative and personal forms of expression, to surrealism and lyrical abstraction.
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Consequently magnificent and important works of art continue to be made albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit. Hard- edge painting, geometric abstraction, appropriation, hyperrealism, photorealism, expressionism, minimalism, Lyrical Abstraction, pop art, op art, abstract expressionism, Color Field painting, monochrome painting, neo- expressionism, collage, intermedia painting, assemblage painting, digital painting, postmodern painting, neo-Dada painting, shaped canvas painting, environmental mural painting, traditional figure painting, landscape painting, portrait painting, are a few continuing and current directions in painting at the beginning of the 21st century.
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These later developed into more elaborate designs, in the Irregular Polygon series (1967), for example. Later he began his Protractor Series (1971) of paintings, in which arcs, sometimes overlapping, within square borders are arranged side-by-side to produce full and half circles painted in rings of concentric color. Harran II, 1967, is an example of the Protractor Series. The Andre Emmerich Gallery, the Leo Castelli Gallery, the Richard Feigen Gallery, and the Park Place Gallery were important showcases for Color Field painting, shaped canvas painting and Lyrical Abstraction in New York City during the 1960s.
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He earned French citizenship in 1945, and was awarded the Croix de Guerre. In 1947 in Paris he had his first solo exhibition. By the late 1950s he had achieved recognition for his gestural paintings, which were nearly monochromatic and characterized by configurations of long rhythmical brushstrokes or scratches. In 1960 he was awarded the International Grand Prix for painting at the Venice Biennale..accessed on line June 15, 2007 Hartung's freewheeling abstract paintings set influential precedents for many younger American painters of the sixties, making him an important forerunner of American Lyrical Abstraction of the 1960s and 1970s.
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Mosaic by Edo Murtić on the Šeferov family tomb at the Mirogoj Cemetery Edo Murtić (1921–2005) was a painter from Croatia, best known for his lyrical abstraction and abstract expressionism style. He worked in a variety of media, including oil painting, gouache, graphic design, ceramics, mosaics, murals and theatrical set design. Murtić travelled and exhibited extensively in Europe and North America, gaining international recognition for his work, which can be found museums, galleries and private collections worldwide. He was one of the founders of the group "March" (Mart) in 1956, and received many international awards.
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Irene Rice Pereira (August 5, 1902 – January 11, 1971) was an American abstract artist, poet and philosopherGuide to the Irene Rice Pereira Papers , 1928-1971, Archives and Special Collections, National Museum of Women in the Arts, accessed March 29, 2013 who played a major role in the development of modernism in the United States. She is known for her work in the genres of geometric abstraction, abstract expressionism and lyrical abstraction, as well as her use of the principles of the Bauhaus school. Her paintings and writings were significantly influenced by the complex intellectual currents of the 20th century.
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He left the Communist Party and reentered the Catholic Church. In the last years of his life he lived in reclusive poverty in the very heart of Prague on the island of Kampa. In the 1950s and 1960s he wrote longer poems mixing reality and lyrical abstraction. He is best known in English for his postwar works, both the often teasingly obscure longer poem Noc s Hamletem (A Night with Hamlet, 1964) which became the most often translated Czech poem,Jiří Rulf, Vladimír Holan and his short, gnomic lyrical reflections, with occasional submerged notes of political protest.
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Consequently, magnificent and important works of art continue to be made in the United States albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit. Hard-edge painting, Geometric abstraction, Appropriation, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Abstraction, Pop art, Op art, Abstract Expressionism, Color Field painting, Monochrome painting, Neo-expressionism, Collage, Intermedia painting, Assemblage painting, Digital painting, Postmodern painting, Neo-Dada painting, Shaped canvas painting, environmental mural painting, Graffiti, traditional figure painting, Landscape painting, Portrait painting, are a few continuing and current directions in painting at the beginning of the 21st century.
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Atkins' propulsive marching band-style drumming, the lack of bass and guitar, and Lydon's increasing lyrical abstraction made this LP a difficult listen for rock fans, and contemporary reviews expressed great confusion. The record consists mostly of drums, vocals, musique concrète, and tape loops, with only gestures toward bass (played by Levene) and keyboards. Its forceful drum sound was widely copied, notably by Phil Collins, though the drum sound was initially influenced by Collins' own work on Peter Gabriel III. The title "Flowers of Romance" was the name of a short- lived band featuring Keith Levene, Viv Albertine, and Sid Vicious in 1976.
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It was only after World War II, however, that the U.S. became the focal point of new artistic movements.CIA and AbEx Retrieved November 7, 2010 The 1950s and 1960s saw the emergence of Abstract Expressionism, Color field painting, Conceptual artists of Art & Language, Pop art, Op art, Hard- edge painting, Minimal art, Lyrical Abstraction, Fluxus, Happening, Video art, Postminimalism, Photorealism and various other movements. In the late 1960s and the 1970s, Land art, Performance art, Conceptual art, and other new art forms had attracted the attention of curators and critics, at the expense of more traditional media.Mullins 2006, p. 14.
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In 1976 Francesca Llopis enrolles at escola EINA where she meets Dani Freixes, América Sánchez, Albert Ràfols-Casamada, Maria Girona and Manel Esclusa, among others. Between 1979 and 1981 she shares an interior design studio with Josep Maria Civit and Ton Auquer and obtains an artistic residence grant at the Teater Studio in the Pałac Kultury in Warsaw. The inevitable and foreseeable coup d'etat transforms and creates a new pictorial imaginary to the artist, making her to question the lyrical abstraction of her first stage. From this inflection point, the "trip" will constitute a fundamental part of her process in the artistic work.
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Bannard was born in New Haven, Connecticut and attended Phillips Exeter Academy (class of 1952) and Princeton University, where he struck up a friendship and working relationship with Frank Stella, who was also interested in minimalist abstraction. He was associated with Modernism, Lyrical Abstraction, Minimalism, Formalism (art), Post-painterly Abstraction and Color Field painting. Bannard was awarded a Guggenheim Fellowship in 1968. Bannard had close to a hundred solo exhibitions, was included in several hundred group shows, and is represented in the collections of all the major New York museums and many others around the world.
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Mesmerized by the design and the sound of letters, he played with names such as Camille Bryen or Jacques Villeglé and experienced the meaninglessness of the word once exploded, letters contending, extending, exploding to the point where language lost all coherence. This photographic process of deformation fell within a modern issue initiated by Stéphane Mallarmé, further pursued by Guillaume Apollinaire and later by the “lettrists”. In 1953, Hains published “Hépérile éclaté” in collaboration with Villeglé. The phonetic poem “Hyperile” written by Camille Bryen, pioneer of lyrical abstraction was exploded into an “ultra-letter”, thus creating the first of its kind: a poem not intended to be read.
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František Kupka, Katedrála (The Cathedral), 1912-13, oil on canvas, 180 x 150 cm, Museum Kampa, Prague, Czech Republic The Orphists were rooted in Cubism but moved toward a pure lyrical abstraction, seeing painting as the bringing together of a sensation of pure colors. More concerned with the expression and significance of sensation, this movement began with recognizable subjects but was rapidly absorbed by increasingly abstract structures. Orphism aimed to dispense with recognizable subject matter and to rely on form and color to communicate meaning. The movement also aimed to express the ideals of Simultanism: the existence of an infinitude of interrelated states of being.
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Associated with Op Art, Hard-edge painting, Color Field painting, Lyrical Abstraction and Abstract Expressionism, Poons has challenged critical expectations throughout his career, transitioning through several distinct phases of work. According to New York Times critic Roberta Smith, "Since emerging in the 1960s, Mr. Poons has shown a strong preference for allover fields of pulsing color, even if his means of achieving them have varied enormously." Poons first rose to prominence in the 1960s with paintings of circles and ovals on solid—often brilliantly colored—backgrounds. These works, often referred to as the Dot paintings conveyed a sense of movement, and were categorized as op art.
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An Opal release, with no catalogue number, this title is only currently available from EnoShop. The music on the album is taken from an Installation—a show featuring music and visuals—that took place at the undercroft of the Roundhouse, Chalk Farm Road, Camden, London, from 9 September to 6 October 1999. The event featured the work of Italian painter, sculptor and set designer Mimmo Paladino, who became established in the early 80's as one of the main exponents of the so-called Transavanguardia, a form of Neo- expressionism and Lyrical Abstraction. This was the second of his exhibitions; the first did not feature Eno's collaboration.
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Dodd’s use of the monumental painting format refers to the gendered history of lyrical abstraction and action painting. Her debut New York solo exhibition at the project space No5A in 2013, The Studio Before 54, consisted of three large- scale paintings produced from the rubbings of various dry minerals, including graphite and iron glimmer. Listed materials also included “the souls of the shoes of Nanette Lepore, Margiela, Clergerie, a half calf cowboy boot, a no name mule, a foot with foss mud.” Throughout her work, Dodd uses both “traditional pigments and those opportunity presents her,” such as SCOBYs, onion skins, avocado pits, tulips, and yew berries.
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Joan Miró was among the first artists to develop automatic drawing as a way to undo previous established techniques in painting, and thus, with André Masson, represented the beginning of Surrealism as an art movement. However, Miró chose not to become an official member of the Surrealists to be free to experiment with other artistic styles without compromising his position within the group. He pursued his own interests in the art world, ranging from automatic drawing and surrealism, to expressionism, Lyrical Abstraction, and Color Field painting. Four-dimensional painting was a theoretical type of painting Miró proposed in which painting would transcend its two-dimensionality and even the three- dimensionality of sculpture.
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The original common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism. At the time (late 1940s), Paul Jenkins, Norman Bluhm, Sam Francis, Jules Olitski, Joan Mitchell, Ellsworth Kelly and numerous other American artists were, as well, living and working in Paris and other European cities. With the exception of Kelly, all of those artists developed their versions of painterly abstraction that has been characterized at times as lyrical abstraction, tachisme, color field, Nuagisme and abstract expressionism.
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The collection of Post-War Contemporary Art, from the Norton Simon Museum's acquisition of the Pasadena Art Museum's building and collections, is noteworthy for its strength in collage, assemblage and sculpture, including works by Joseph Cornell, Robert Rauschenberg, Louise Nevelson, and Ed Kienholz. Pop Art, and Minimal Art are represented by Roy Lichtenstein, Andy Warhol, Donald Judd, and Robert Irwin. Californian art from the 1950s through the 1970s is a particular strength, with artwork by Sam Francis, Richard Diebenkorn, Jay DeFeo, Ronald Davis, Larry Bell, Edward Ruscha, Kenneth Price, Charles Arnoldi, and Ed Moses, Color Field painting and Lyrical Abstraction are represented by Kenneth Noland, Ronnie Landfield, Frank Stella, Helen Frankenthaler, and Kenneth Showell.
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Robert Motherwell introduced Emmerich to "the small group of eccentric painters we now know as the New York Abstract Expressionist School"."A Sculpture Farm in the Country", Los Angeles Times; accessed October 21, 2017. During the second half of the 20th century the Emmerich Gallery was located in New York City and since 1959 in the Fuller Building at 41 East 57th Street and in the 1970s also at 420 West Broadway in Manhattan and in Zürich, Switzerland. The gallery displayed leading artists working in a wide variety of styles including Abstract Expressionism, Op Art, Color field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Pop Art and Realism, among other movements.
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New movements gained prominence some of which are: postminimalism, Earth art, video art, installation art, arte povera, performance art, body art, fluxus, happening, mail art, the situationists and conceptual art among others. However still other important innovations in abstract painting took place during the 1960s and the 1970s characterized by monochrome painting and hard-edge painting inspired by Ad Reinhardt, Barnett Newman, Milton Resnick, and Ellsworth Kelly. Artists as diverse as Agnes Martin, Al Held, Larry Zox, Frank Stella, Larry Poons, Brice Marden and others explored the power of simplification. The convergence of Color Field painting, minimal art, hard-edge painting, Lyrical Abstraction, and postminimalism blurred the distinction between movements that became more apparent in the 1980s and 1990s.
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Arte Informale is a term coined in 1950 by the French critic Michel Tapié to refer to the art movement that began during the mid-1940s in post-World War II Europe. This movement also paralleled the Abstract Expressionism movement that was taking place at the same time in the United States, and had ties to the Arte Povera movement. Sometimes referred to as Tachism, Art Autre or Lyrical Abstraction, it was a type of abstraction in which form became less important than that of the expressive impulses of the artist, and was opposed to the rationalism of traditional abstraction. The qualities of informal art explore the possibilities of gesture, materials (often non traditional), and signage as the basis of communication.
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Guy Joseph Marie de Villardi comte de Montlaur (9 September 1918, Biarritz -- 10 August 1977, Garches) was a French painter from the Languedoc family of Montlaur. He was a resistance fighter in WW2, he landed in Normandy on 6 June 1944 with the 1er BFMC troops (aka "Kieffer Commandos"), he participated in the Battle of Normandy and landed again in Holland on 1 November 1944. Montlaur's paintings were influenced by the great classical works such as those by Paolo Uccello, Ingres, Delacroix and later Kandinsky. One can define four styles characterising the evolution of Montlaur's work: cubism immediately post-war, geometric abstraction from 1949, abstract expressionism from 1955 and finally lyrical abstraction around 1960, once he had achieved the summit of his art and technique.
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His most well-known late paintings of beaches and landscapes are dominated by the sky and effects of light.Landscape Study, Tate Much of de Staël's late work—in particular his thinned and diluted oil on canvas abstract landscapes of the mid-1950s—predicts Color field painting and Lyrical Abstraction of the 1960s and 1970s. Nicolas de Staël's bold and intensely vivid color in his last paintings predict the direction of much of contemporary painting that came after him including Pop Art of the 1960s. The French New Wave filmmaker Jean- Luc Godard has stated that de Staël is his favorite painter, and the use of primary colors in his film Pierrot Le Fou was strongly influenced by de Staël's work.
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During the 1950s and 1960s as abstract painting in America and Europe evolved into movements such as Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, Lyrical Abstraction, and the continuation of Abstract expressionism. Other artists reacted as a response to the tendency toward abstraction with Art brut,Jean Dubuffet: L’Art brut préféré aux arts culturels [1949] Art brut. Madness and Marginalia, special issue of Art & Text, No. 27, 1987, pp. 31–33) as seen in Court les rues, 1962, by Jean Dubuffet, Fluxus, Neo-Dada, New Realism, Photorealism, allowing imagery to re-emerge through various new contexts like Pop art, the Bay Area Figurative Movement (a prime example is Diebenkorn's Cityscape I,(Landscape No. 1) (1963), and later in the 1970s Neo-expressionism.
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Beginning in the 1950s and 1960s, several Abstract Expressionist / color field artists (notably: Barnett Newman, Mark Rothko, Robert Motherwell, Adolph Gottlieb, Theodoros Stamos, Sam Francis, Ludwig Sander, Clyfford Still, Jules Olitski, and others) explored motifs that seemed to imply monochrome, employing broad, flat fields of colour in large scale pictures which proved highly influential to newer styles, such as Post- Painterly Abstraction, Lyrical Abstraction, and Minimalism. One of Barnett Newman's near monochrome paintings generated outrage and widespread ridicule (and discussion) in Canada when the National Gallery purchased "Voice of Fire" for a large sum of money, in the 1980s. Another of Barnett Newman’s very sparse (though technically not monochrome) geometric abstractions was slashed with a knife by an enraged viewer in the 1980s at the Stedelijk Museum in Amsterdam.
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Some surrealists in particular Joan Miró, who called for the "murder of painting" (In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods and his desire to "kill", "murder", or "rape" them in favor of more contemporary means of expression).M. Rowell, Joan Mirό: Selected Writings and Interviews (London: Thames & Hudson, 1987) pp. 114–116. have denounced or attempted to "supersede" painting, and there have also been other anti-painting trends among artistic movements, such as that of Dada and conceptual art. The trend away from painting in the late 20th century has been countered by various movements, for example the continuation of Minimal Art, Lyrical Abstraction, Pop Art, Op Art, New Realism, Photorealism, Neo Geo, Neo-expressionism, New European Painting, Stuckism and various other important and influential painterly directions.
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The French art scene immediately after the war went roughly in several directions. There were those who continued in the artistic experiments of the 1930s and 1940s, especially Surrealism and Geometric abstraction, and there were those associated with Lyrical abstraction, Tachisme, Nuagisme, Art Informel and ' (modes of expression along similar lines as Abstract Expressionism or action painting from New York). These artists included Wols, Jean Fautrier, Hans Hartung, Jean-Paul Riopelle, Jean Degottex, Pierre Soulages, Jean Messagier and Georges Mathieu.Solomon R. Guggenheim Museum, New York, Younger European painters: a selection, exhibition catalogue, 2 December 1953 - 21 February 1954 At the same time, Jean Dubuffet dominated the early post-war years while exploring childlike drawings, graffiti and cartoons in a variety of media in what he called "Art Brut" (see Outsider art).
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He was awarded the Savills Art Prize at VUE Contemporary Art Fair, RHA Gallagher Gallery, Dublin in 2017 for an artist over 65 who has had a major exhibition of their work in the previous year, and who has also made an outstanding contribution to the visual arts in Ireland. His first one-person show was in Limerick in 1978 and since then he has held one-person shows in Cork, Carlow, Ennis, Ennistymon, and Dublin with the Oliver Dowling Gallery, the Rubicon Gallery and Hillsboro Fine Art, and one- person shows in Switzerland and France. He is represented in Ireland by the Oliver Sears Gallery, Dublin where he held his first solo show in 2014. His style has moved from an early interest in Minimalism to a combination of Post- minimalism and Lyrical Abstraction.
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There was a sense of optimism, community, and > artistic and intellectual revelry propelling the Club forward from the > onset. Club members eventually included all, or nearly all, of the New York School, as well as the painters and sculptors — so-called Irascibles — who boycotted an upcoming "monster exhibition" at the Metropolitan Museum of Art's because of the jury's rejection of "advanced art," which led to a group photo of the artists for Life Magazine. As abstract expressionism developed, Club membership also extended to numerous forms of it, including action painting, color field, lyrical abstraction, tachisme, color field, Nuagisme and so on. Lectures by luminaries like Joseph Campbell, John Cage and Hannah Arendt, and bi-weekly discussions nurtured artists' theories about art, culture and the artist's role in it.
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As an art collector Johnson had an eclectic eye. He supported avant-garde movements and young artists often before they became widely known. His collection of American art was strong in Abstract expressionism, Pop Art, Minimalism, Neo-Dada, Color Field, Lyrical Abstraction, and Neo-Expressionism and he often donated important works from his collection to institutions like MoMA, and other important private museums and University collections like the Norton Simon Museum, the Sheldon Museum of Art and the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University among many others. Johnson's publicly held archive, including architectural drawings, project records, and other papers up until 1964 are held by the Drawings and Archives Department of Avery Architectural and Fine Arts Library at Columbia University, the Getty, and the Museum of Modern Art.
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Color Field pioneers such as Jackson Pollock, Mark Rothko, Clyfford Still, Barnett Newman, Adolph Gottlieb, and Robert Motherwell are primarily thought of as Abstract Expressionists. Artists like Helen Frankenthaler, Sam Francis, Richard Diebenkorn, Jules Olitski, and Kenneth Noland were of a slightly younger generation, or in the case of Morris Louis esthetically aligned with that generation's point of view; that started out as Abstract Expressionists but quickly moved to Post-Painterly Abstraction. While younger artists like Frank Stella, Ronald Davis, Larry Zox, Larry Poons, Walter Darby Bannard, Ronnie Landfield, Dan Christensen, began with Post-Painterly Abstraction and eventually moved forward towards a new type of expressionism, referred to as Lyrical Abstraction. Many of the artists mentioned, as well as many others, have practiced all three modes at one phase of their careers or another.
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His work fits, more precisely, in the Lyrical Abstraction school of thought, which is also promoted by painters such as Michelle Destarac and Pierre Célice. His work can be seen frequently, both in public events and in art galleries, on the occasion of the three or four personal exhibits each year, within or outside France, as well as in multi-author events or in international shows (no less than 165 since 1970). Didier Decoin, Member of the Académie Goncourt, describes the work of Thibaut de Reimpré as follows (2): > Reimpré's carnal world - that is, his social circle of friends and lovers - > is wrought with such tenderness, consideration, attentiveness, distinction > and enchantment. There is a man, one says to oneself, who must love maples > in autumn, the acidulous mixed borders of springtime, the velvety dance of > the chamois, and Satie's so attractively sarcastic arpeggios.
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There, Bitran experiments geometrical almost optical drawings on paper with coloured pencils. Denise René organizes an exhibition in her famous gallery and Henry-Pierre Roché writes the preface of the catalogue. Yet, Bitran starts searching for a more personal expression: informal, gestual, architectural, the lyrical abstraction movement with which he would be associated for the next sixty years. The Birth of a Landscape is an impressive example of his new freedom. This large collage of 1956 will be shown in the exhibition L’Envolée Lyrique, at the Musée du Luxembourg, Paris, in 2006 and is now in the Gandur Fondation for Art, in Geneva. In 1958, Albert Bitran becomes French citizen, marries Claude Ledoux, moves to a studio, rue des Plantes, Paris and buys an old farm in Rigny-le-Ferron, Aube, where he sets up a ceramic studio.
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US v. Spoutz, 16 Cr. 392: Government Sentencing Materials, Feb. 6, 2017 Dozens of character letters from Spoutz's friends, family, colleagues and clients written on his behalf begging for leniency were presented to the court including letters from former New York Yankees, Texas Rangers and Cleveland Indians baseball player, John Ellis, American lyrical abstraction co-founder Ronnie Landfield, New York artist, Scott Kahn and the executive director of The Heidelberg Project.US v. Spoutz, 16 Cr. 392: Defendant Sentencing Materials (Character Letters), Feb. 2, 2017 On February 16, 2017 Spoutz was sentenced by the Honorable Lewis A. Kaplan in United States District Court for the Southern District of New York to 41 months in federal prison at Federal Correctional Institution, Morgantown and ordered to forfeit the $1.45 million he made from the scheme and pay $154,100 in restitution.
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In 1966 Masada Gallery in Tel Aviv held an exhibition of 23 of his Panda color drawings, organized by Raffi Lavie. Another series of works that Aroch worked on during the 1960s was based on a depiction of the Creation, a depiction of the Exodus from Egypt, and a depiction of Moses with the Ten Commandments as they appear in the 14th-century Sarajevo Haggadah. These works, such as the “Jewish Motif” (1961), “Arch in Blue-Purple” (1961), or “The Creation, Sarajevo Haggadah” (1966), exhibit abstract symbols of metaphysical significance. In these works, Gideon Efrat asserts, Aroch combined “Israeli lyrical abstraction, which Zaritsky and his colleagues had exported from Paris, with the memory of the Jewish people, a combination of New Horizons and Old Horizons.”Gideon Ofrat, "In the Library of Arie Aroch" (Tel Aviv: Bavel, 2001), p.113.
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De Staël 's work was quickly recognised within the post-war art world, and he became one of the most influential artists of the 1950s. His return to representation (seascapes, footballers, jazz musicians, seagulls) during the early 1950s can be seen as an influential precedent for the American Bay Area Figurative Movement, as many of those abstract painters like Richard Diebenkorn, David Park, Elmer Bischoff, Wayne Thiebaud, Nathan Oliveira, Joan Brown and others made a similar move; returning to imagery during the mid-1950s. Much of de Staël 's late work – in particular his thinned, and diluted oil on canvas abstract landscapes of the mid-1950s predicts Color Field painting and Lyrical Abstraction of the 1960s and 1970s. Nicolas de Staël's bold and intensely vivid color in his last paintings predict the direction of much of contemporary painting that came after him including Pop art of the 1960s.
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" The post-war production of significant writing by artists on art, both in Paris and New York was common to the period, but Pavia's efforts attracted broader range of participants, and his magazine's mission was more ambitious: It featured all, or nearly all, of the painters and sculptors — so-called Irascibles — who boycotted the Metropolitan Museum of Art's upcoming "monster exhibition" because of the jury's rejection of "advanced art." Their protest got them photographed for Life Magazine and, later, published by Pavia, along with all the many schools of abstract expressionism: action painting, color field, lyrical abstraction, tachisme, color field, Nuagisme and so on. In keeping with that eclecticism, Pavia also published "[c]ritical writing, manifestos and statements by fellow artists ... printed alongside reproductions of new work. The periodical was structured as an artists’ archive for abstract expressionism during the mature phase of the movement.
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"... [directed by Bardon, the elders] began to interact with certain issues in 1960s and 70s international painting, especially the extreme schematisation of New York minimalism." In the History of Painting"Lyrical Abstraction in the late 1960s is characterised by the paintings of Dan Christensen, Ronnie Landfield, Peter Young and others, and along with the fluxus movement and postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969)Movers and Shakers, New York, "Leaving C&M;", by Sarah Douglas, Art and Auction, March 2007, V.XXXNo7. sought to expand the boundaries of abstract painting and minimalism by focusing on process, new materials and new ways of expression." This connection is seen most obviously in the connection between the paintings from the late sixties of Peter Young (artist) and the paintings that follow in the early seventies produced in the Papunya Tula.
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These "lyrical abstractionists" sought to expand the boundaries of abstract painting, and to revive and reinvigorate a painterly 'tradition' in American art. At the same time, these artists sought to reinstate the primacy of line and color as formal elements in works composed according to aesthetic principles – rather than as the visual representation of sociopolitical realities or philosophical theories." "Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy. Works by the following artists associated with Lyrical Abstraction will be included: Natvar Bhavsar, Stanley Boxer, Lamar Briggs, Dan Christensen, David Diao, Friedel Dzubas, Sam Francis, Dorothy Gillespie, Cleve Gray, Paul Jenkins, Ronnie Landfield, Pat Lipsky, Joan Mitchell, Robert Natkin, Jules Olitski, Larry Poons, Garry Rich, John Seery, Jeff Way and Larry Zox.
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The gallery exhibited "advanced art" and was associated with Washington Color School, color field, post-painterly abstraction and lyrical abstraction for a number of years, and was a major Washington outlet for that art. Some artists who also exhibited at Jefferson Place Gallery: Antoinette "Tony" Bradlee, William Christenberry, Gene Davis, Willem De Looper, William Eggleston, Sam Gilliam, John Gossage, Valerie Hollister, Sheila Isham, Jennie Lea Knight, Rockne Krebs, Blaine Larson, Howard Mehring, Mary Pinchot Meyer, David Moy, Roberto Polo, V.V. Rankine, Paul Reed (artist), Eric Rudd, Yuri Schwebler, Roy Slade, Carroll Sockwell, Jack Solomon, David Staton, Elliot Thompson, Hilda Shapiro Thorpe, Frederic Matys Thursz, Franklin White, John P. Wise, and Ed Zerne. The competitors in contemporary art with Nesta Dorrance's Jefferson Place Gallery were Henri Gallery [Henrietta Ersham], Pyramid Gallery [Ramon Osuna and Luis Lastra] and later, Protetch-Rivkin Gallery [Max Protetch and Harold Rivkin].
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John Baeder, Photorealism During the 1950s and 1960s as abstract painting in America and Europe evolved into movements such as Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, Lyrical Abstraction, and the continuation of Abstract expressionism. Other artists reacted as a response to the tendency toward abstraction with Art brut,Dubuffet, Jean, L'Art brut préféré aux arts culturels (1949), translated into English in Art brut. Madness and Marginalia, a special issue of Art & Text, No. 27, 1987, pp. 31-33. as seen in Court les rues, 1962, by Jean Dubuffet, Fluxus, Neo-Dada, New Realism, allowing imagery to re-emerge through various new contexts like Pop art, the Bay Area Figurative Movement (a prime example is Diebenkorn's Cityscape I,(Landscape No. 1), 1963, Oil on canvas, 60 1/4 x 50 1/2 inches, collection: San Francisco Museum of Modern Art), and later in the 1970s Neo- expressionism.
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2 In 1951 Groupe Espace was founded in France to harmonize painting, sculpture and architecture as a single discipline. This grouped sculptors and architects with old established artists such as Sonia Delaunay and Jean Gorin and the newly emergent Jean Dewasne and Victor Vasarély. Its manifesto was published in L’Architecture d’Aujourd’hui that year and placarded on the streets of Paris, championing the fundamental presence of the plastic arts in all aspects of life for the harmonious development of all human activities. It extended beside into practical politics, having elected as its honorary president the Minister for Reconstruction and Urban Development, Eugène Claudius-Petit.Eve Roy, “La présence fondamentale de la plastique, L’exposition du Groupe Espace à Biot en 1954: un essai de synthèse des arts”, 2013 As time progressed, a distinction began to be made between 'cold abstraction', which was identified with geometric Concrete Art, and 'warm abstraction', which, as it moved towards the various kinds of Lyrical abstraction, reintroduced personality into art.
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Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950sArt Gallery of New South Wales, Sydney, Australia has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush or directly from the paint tube, large quantities of paint onto the stretched canvas (positioned vertically).Agence photographique de la réunion des Musées nationaux, Riopelle in his studioJean Paul Riopelle: The Artist's Materials, Marie-Claude Corbeil, Kate Helwig, Jennifer Poulin, Getty Publications, Dec. 20, 2011Pierre Letarte and Marianne Feaver, 1982, in Riopelle vu par..., Texts and interviews gathered by Michel Waldberg, 2004, Centre culturel canadien.
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In: Rozsda, Museum of Fine Arts, Budapest, 2001 Surrealist tale (1955) Indeed, this arc of transformation that led Rozsda's painting from post-Impressionism and Surrealism through lyrical abstraction is not found in his graphic work. This part of his oeuvres constitutes a separate realm created whole by a sensibility described as surrealist by Breton in that famous conversation. Throughout his career, Rozsda made figurative and abstract drawings and often a unique combination of the two, although this variability in subject matter and technique does not contradict the realization that this part of his oeuvres is inspired by the same surrealist ambition aimed at the liberation of the imagination and the representation of the hidden occupants of the mind. This is true even when he created with ease subtle drawings composed in a playful rhythm of simple forms and with sensual references, or when he brought to life ominously swirling fantasies populated by imaginary beings with extraordinary precision.
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104-113Color Fields, Deutsche Guggenheim Retrieved November 26, 2010 The late 1960s saw painters turning to surface inflection, deep space depiction, and painterly touch and paint handling merging with the language of color. Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works. By the 1970s Poons created thick-skinned, cracked and heavy paintings referred to as Elephant Skin paintings; while Christensen sprayed loops, colored webs of lines and calligraphy, across multi-colored fields of delicate grounds; Ronnie Landfield's stained band paintings are reflections of both Chinese landscape painting and the Color Field idiom, and John Seery's stained painting as exemplified by East, 1973, from the National Gallery of Australia. Poons, Christensen, Davis, Landfield, Seery, Lipsky, Zox and several others created paintings that bridge Color Field painting with Lyrical Abstraction and underscore a re-emphasis on landscape, gesture and touch.
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Edward Hopper, Nighthawks (1942), Cityscape During the 1930s through the 1960s as abstract painting in America and Europe evolved into movements such as Abstract Expressionism, Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, and Lyrical Abstraction. Other artists reacted as a response to the tendency toward abstraction allowing imagery to continue through various new contexts like the Bay Area Figurative Movement in the 1950s and new forms of expressionism from the 1940s through the 1960s. In Italy during this time, Giorgio Morandi was the foremost still life painter, exploring a wide variety of approaches to depicting everyday bottles and kitchen implements. Throughout the 20th century many painters practiced Realism and used expressive imagery; practicing landscape and figurative painting with contemporary subjects and solid technique, and unique expressivity like Milton Avery, John D. Graham, Fairfield Porter, Edward Hopper, Andrew Wyeth, Balthus, Francis Bacon, Frank Auerbach, Lucian Freud, Leon Kossoff, Philip Pearlstein, Willem de Kooning, Arshile Gorky, Grace Hartigan, Robert De Niro, Sr., Elaine de Kooning and others.
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Gérard Schneider, photo by Paolo Monti, 1961 (Fondo Paolo Monti, BEIC). Gérard Ernest Schneider (1896–1986) was a Swiss painter. A major pioneer of Lyrical Abstraction, a gestural and personal form of abstraction, along with Hans Hartung and Pierre Soulages, Gérard Schneider was shown in Paris at the Galerie Louis Carré as early as 1950. From 1955 to 1960, Schneider’s work was exhibited at the Kootz Gallery in New York where an exclusivity contract connected the artist and the American dealer Samuel Kootz. From gesture, “the shape is born, whether lyrical or dramatic, with its colour and technical means, without any reference to external nature” according to Schneider. Eugène Ionesco spoke of “the original, eruptive, richness” of his work. From nervous gesture and volcanic composition, full of tension, of the 1950s followed “the light years” from Michel Ragon’s expression, which were marked by the balance of forms reflecting each other and the explosion of colour. "Painting should be looked in the same way as music is listened to", as Schneider enjoyed saying. Musical, his work is to be understood like “an orchestra” which expresses “passion, fury, romanticism“ according to Michel Ragon.
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During the 1930s through the 1960s abstract painting in America and Europe evolved into movements such as abstract expressionism, Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, and Lyrical Abstraction. Other artists reacted as a response to the tendency toward abstraction, allowing figurative imagery to continue through various new contexts like the Bay Area Figurative Movement in the 1950s and new forms of expressionism from the 1940s through the 1960s. In Italy during this time, Giorgio Morandi was the foremost still life painter, exploring a wide variety of approaches to depicting everyday bottles and kitchen implements.David Piper, p. 635 Throughout the 20th century many painters practiced Realism and used expressive imagery; practicing landscape and figurative painting with contemporary subjects and solid technique, and unique expressivity like still-life painter Giorgio Morandi, Milton Avery, John D. Graham, Fairfield Porter, Edward Hopper, Andrew Wyeth, Balthus, Francis Bacon, Leon Kossoff, Frank Auerbach, Lucian Freud, Philip Pearlstein, Willem de Kooning, Arshile Gorky, Grace Hartigan, Robert De Niro, Sr., Elaine de Kooning and others. Along with Henri Matisse, Pablo Picasso, Pierre Bonnard, Georges Braque, and other 20th-century masters.
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