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Mary Lee Abbott (July 27, 1921 – August 23, 2019) [1] was an American artist, known as a member of the New York School of abstract expressionists in the late 1940s and 1950s. [2] Her abstract and figurative work were also influenced by her time spent in Saint Croix and Haiti, where she lived off and on throughout the 1950s.
Clement Greenberg (/ ˈ ɡ r iː n b ɜːr ɡ /) (January 16, 1909 – May 7, 1994), [1] occasionally writing under the pseudonym K. Hardesh, was an American essayist known mainly as an art critic closely associated with American modern art of the mid-20th century and a formalist aesthetician.
French art critic Camille Mauclair defined Intimism as: [5] a revelation of the soul through the things painted, the magnetic suggestion of what lies behind them through the description of the outer appearance, the intimate meaning of the spectacles of life
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.
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [1] Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
Robert Motherwell was born in Aberdeen, Washington on January 24, 1915, the first child of Robert Burns Motherwell II and Margaret Hogan Motherwell. The family later moved to San Francisco, where Motherwell's father served as president of Wells Fargo Bank, but returned to Cohasset Beach, Washington, every summer during his youth.
In the 20th century the trend toward abstraction coincided with advances in science, technology, and changes in urban life, eventually reflecting an interest in psychoanalytic theory. [2] Later still, abstraction was manifest in more purely formal terms, such as color, freedom from objective context, and a reduction of form to basic geometric ...
Sandy and Her Husband is a 1973 painting by the postmodern African-American painter and printmaker Emma Amos (1937-2020). In 2018 the painting was acquired directly from the artist's collection by the Cleveland Museum of Art after having been shown as the centerpiece of the exhibition "We Wanted a Revolution: Black Radical Women, 1965–85" at the Brooklyn Museum. [1]