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Painterliness is a concept based on German: malerisch ('painterly'), a word popularized by Swiss art historian Heinrich Wölfflin (1864–1945) to help focus, enrich ...
The history of painting reaches back in time to artifacts and artwork created by pre-historic artists, and spans all cultures. It represents a continuous, though periodically disrupted, tradition from Antiquity.
Sosa Joseph’s paintings are noted for their painterliness [47] with their loose brushwork [48], sweeping scale [49], dreamlike quality [50], masterful use of colour [51] with a distinctive palette [52], and narrative content. [53] Sosa is known to paint ‘largely from memory, sifting through her lived emotions and experiences’. [54]
He was born in Sansepolcro. [4] [5] There is little documentation to support the alleged training under Bronzino or Baccio Bandinelli.From 1558 to 1564, he worked in Rome on frescoes in Palazzo Salviati and the Sala Grande of the Belvedere (Homage of the People) alongside Giovanni de' Vecchi and Niccolò Circignani.
Their initial break with realism into an exploration of light, color and the nature of paint was brought to an ultimate conclusion by the abstract expressionists who broke away from recognizable content of any kind into works of pure shape, color and painterliness which emerged at the end of the Second World War.
Critic Clement Greenberg believed that flatness, or two-dimensional, was an essential and desirable quality in painting, a criterion which implies rejection of painterliness and impasto. The valorization of flatness led to a number of art movements, including minimalism and post-painterly abstractionism. [1] [2]
The Jerwood Painting Prize was a prize for originality and excellence in painting in the United Kingdom, awarded and funded by the Jerwood Foundation.It was open to all artists born or resident in the UK, regardless of age or reputation.
The elements of Losenko's original style, according to Savinov, include "strict, clear composition, spatiality of construction, strong contrasts of colour and shadow, painterliness of the painting as a whole, severity next to emotional elevation, figures in sharp movement or motionless". [57]