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For this exhibition, she created Earth Paintings, a series of nature-inspired abstract works, including Resurrection (1966), [32] which in 2014 would be bought for the White House collection. [ 33 ] [ 34 ] Thomas and the artist Delilah Pierce , a friend, would drive into the countryside where Thomas would seek inspiration, pulling ideas from ...
Black Abstractionism is a term that refers to a modern arts movement that celebrates Black artists of African-American and African ancestry, whether as direct descendants of Africa or of a combined mixed-race heritage, who create work that is not representational, presenting the viewer with abstract expression, imagery, and ideas.
Her paintings feature bright colors and were inspired by nature and her time spent traveling in the Caribbean islands. [6] [10] In 2016 her work was included in the exhibition Women of Abstract Expressionism organized by the Denver Art Museum. [11] She died at age 98 on August 23, 2019, of heart failure. [1] [6]
Robert Scott Duncanson, Landscape with Rainbow c. 1859, Hudson River School, Smithsonian American Art Museum, Washington, DC.. This list of African-American visual artists is a list that includes dates of birth and death of historically recognized African-American fine artists known for the creation of artworks that are primarily visual in nature, including traditional media such as painting ...
Eftersommar (Late Summer) an early naturalistic work, painted by af Klint in 1903, an example of the works she exhibited to the public during her lifetime. Hilma af Klint was the fourth child of Mathilda af Klint (née Sonntag) and Captain Victor af Klint, a Swedish naval commander, and she spent summers with her family at their manor, "Hanmora", on the island of Adelsö in Lake Mälaren.
No Woman No Cry at the Google Art Project; No Woman No Cry at the Tate Gallery; Chris Ofili: A journey from elephant art to mother nature's son, Charlotte Higgins, The Guardian, 2 December 1998; Chris Ofili, Dan Glaister, The Guardian, 2 December 1998; Chris Ofili at Tate Britain, Jackie Wullschlager, Financial Times, 29 January 2010